Chapter 8

After full many a mutual delay My friend and I at last fixed on a day For seeing Black Cross Farm, which he had long Boasted the fittest theme for tale or song In all that charming region round about: Something that must not really be left out Of the account of things to do for me. It was a teasing bit of mystery, He said, which he and his had tried in vain, Ever since they had found it, to explain. The right way was to happen, as they did, Upon it in the hills where it was hid; But chance could not be always trusted, quite, You might not happen on it, though you might; Encores were usually objected to By chance. The next best thing that we could do Was in his carryall, to start together, And trust that somehow favoring wind and weather, With the eccentric progress of his horse, Would so far drift us from our settled course That we at least could lose ourselves, if not Find the mysterious object that we sought. So one blithe morning of the ripe July We fared, by easy stages, toward the sky That rested one rim of its turquoise cup Low on the distant sea, and, tilted up, The other on the irregular hilltops. Sweet The sun and wind that joined to cool and heat The air to one delicious temperature; And over the smooth-cropt mowing-pieces pure The pine-breath, borrowing their spicy scent In barter for the balsam that it lent! And when my friend handed the reins to me, And drew a fuming match along his knee, And, lighting his cigar, began to talk, I let the old horse lapse into a walk From his perfunctory trot, content to listen, Amid that leafy rustle and that glisten Of field, and wood, and ocean, rapt afar, From every trouble of our anxious star. From time to time, between effect and cause In this or that, making a questioning pause, My friend peered round him while he feigned a gay Hope that we might have taken the wrong way At the last turn, and then let me push on, Or the old horse rather, slanting hither and yon, And never in the middle of the track, Except when slanting off or slanting back. He talked, I listened, while we wandered by The scanty fields of wheat and oats and rye, With patches of potatoes and of corn, And now and then a garden spot forlorn, Run wild where once a house had stood, or where An empty house yet stood, and seemed to stare Upon us blindly from the twisted glass Of windows that once let no wayfarer pass Unseen of children dancing at the pane, And vanishing to reappear again, Pulling their mother with them to the sight. Still we kept on, with turnings left and right, Past farmsteads grouped in cheerful neighborhoods, Or solitary; then through shadowy woods Of pine or birch, until the road, grass-grown, Had given back to Nature all her own Save a faint wheel-trace, that along the slope, Rain-gullied, seemed to stop and doubt and grope, And then quite ceased, as if 't had turned and fled Out of the forest into which it led, And left us at the gate whose every bar Was nailed against us. But, "Oh, here we are!" My friend cried joyously. "At last, at last!" And making our horse superfluously fast, He led the way onward by what had been A lane, now hid by weeds and briers between Meadows scarce worth the mowing, to a space Shaped as by Nature for the dwelling-place Of kindly human life: a small plateau Open to the heaven that seemed bending low In liking for it. There beneath a roof Still against winter and summer weather-proof, With walls and doors and windows perfect yet, Between its garden and its graveyard set, Stood the old homestead, out of which had perished The home whose memory it dumbly cherished, And which, when at our push the door swung wide, We might have well imagined to have died And had its funeral the day before: So clean and cold it was from floor to floor, So lifelike and so deathlike, with the thrill Of hours when life and death encountered still Passionate in it. They that lay below The tangled grasses or the drifted snow, Husband and wife, mother and little one, From that sad house less utterly were gone Than they that living had abandoned it. In moonless nights their Absences might flit, Homesick, from room to room, or dimly sit Around its fireless hearths, or haunt the rose And lily in the neglected garden close; But they whose feet had borne them from the door Would pass the footworn threshold nevermore. We read the moss-grown names upon the tombs, With lighter melancholy than the glooms Of the dead house shadowed us with, and thence Turning, my heart was pierced with more intense Suggestion of a mystical dismay, As in the brilliance of the summer day We faced the vast gray barn. The house was old, Though so well kept, as age by years is told In our young land; but the barn, gray and vast, Stood new and straight and strong--all battened fast At every opening; and where once the mow Had yawned wide-windowed, on the sheathing now A Cross was nailed, the bigness of a man, Aslant from left to right, athwart the span, And painted black as paint could make it. Hushed, I stood, while manifold conjecture rushed To this point and to that point, and then burst In the impotent questionings rejected first. What did it mean? Ah, that no one could tell. Who put it there? That was unknown as well. Was there no legend? My friend knew of none. No neighborhood story? He had sought for one In vain. Did he imagine it accident, With nothing really implied or meant By the boards set in that way? It might be, But I could answer that as well as he. Then (desperately) what did he guess it was: Something of purpose, or without a cause Other than chance? He slowly shook his head, And with his gaze fixed on the symbol said: "We have quite ceased from guessing or surmising, For all our several and joint devising Has left us finally where I must leave you. But now I think it is your part to do Yourself some guessing. I hoped you might bring A fresh mind to the riddle's unraveling. Come!"

And thus challenged I could not deny The sort of right he had to have me try; And yielding, I began--instinctively Proceeding by exclusion: "We agree It was not put there as a pious charm To keep the abandoned property from harm? The owner could have been no Catholic; And yet it was no sacrilegious trick To make folks wonder; and it was not chance Assuredly that set those boards askance In that shape, or before or after, so Painted them to that coloring of woe. Do you suppose, then, that it could have been Some secret sorrow or some secret sin, That tried to utter or to expiate Itself in that way: some unhappy hate Turned to remorse, or some life-rending grief That could not find in years or tears relief? Who lived here last?"

"Ah," my friend made reply, "You know as much concerning that as I. All I could tell is what those gravestones tell, And they have told it all to you as well. The names, the dates, the curious epitaphs At whose quaint phrase one either sighs or laughs, Just as one's heart or head happens to be Hollow or not, are there for each to see. But I believe they have nothing to reveal: No wrong to publish, no shame to conceal."

"And yet that Cross!" I turned at his reply, Fixing the silent symbol with my eye, Insistently. "And you consent," I said, "To leave the enigma uninterpreted?"

"Why, no," he faltered, then went on: "Suppose That some one that had known the average woes Of human nature, finding that the load Was overheavy for him on life's road, Had wished to leave some token in this Cross, Of what had been his gain and been his loss, Of what had been his suffering and of what Had also been the solace of his lot? Whoever that unknown brother-man might be, I think he must have been like you and me, Who bear our Cross, and when we fail at length, Bow down and pray to it for greater strength."

I mused, and as I mused, I seemed to find The fancy more and still more to my mind.

"Well, let it go at that! I think, for me, I like that better than some tragedy Of clearer physiognomy, which were In being more definite the vulgarer. For us, what, after all, would be the gain Of making the elusive meaning plain? I really think, if I were you and yours, I would not lift the veil that now obscures The appealing fact, lest I should spoil the charm Deeding me for my own the Black Cross Farm."

"A good suggestion! I am glad," said he, "We have always practised your philosophy."

He smiled, we laughed; we sighed and turned away, And left the mystery to the summer day That made as if it understood, and could Have read the riddle to us if it would: The wide, wise sky, the clouds that on the grass Let their vague shadows dreamlike trail and pass; The conscious woods, the stony meadows growing Up to birch pastures, where we heard the lowing Of one disconsolate cow. All the warm afternoon, Lulled in a reverie by the myriad tune Of insects, and the chirp of songless birds, Forgetful of the spring-time's lyric words, Drowsed round us while we tried to find the lane That to our coming feet had been so plain, And lost ourselves among the sweetfern's growth, And thickets of young pine-trees, nothing loath, Amidst the wilding loveliness to stray, And spend, if need were, looking for the way, Whole hours; but blundered into the right course Suddenly, and came out upon our horse, Where we had left him--to our great surprise, Stamping and switching at the pestering flies, But not apparently anxious to depart, When nearly overturning at the start, We followed down that evanescent trace Which, followed up, had brought us to the place.

Then, all the wayside scenes reversing, we Dropped to the glimpses of the distant sea, Content as if we brought, returning thus, The secret of the Black Cross back with us.

XIII

THE CRITICAL BOOKSTORE

It had long been the notion of Frederick Erlcort, who held it playfully, held it seriously, according to the company he was in, that there might be a censorship of taste and conscience in literary matters strictly affiliated with the retail commerce in books. When he first began to propose it, playfully, seriously, as his listener chose, he said that he had noticed how in the great department stores where nearly everything to supply human need was sold, the shopmen and shopwomen seemed instructed by the ownership or the management to deal in absolute good faith with the customers, and not to misrepresent the quality, the make, or the material of any article in the slightest degree. A thing was not to be called silk or wool when it was partly cotton; it was not to be said that it would wash when it would not wash, or that the color would not come off when it would come off, or that the stuff was English or French when it was American.

When Erlcort once noted his interest in the fact to a floor-walker whom he happened to find at leisure, the floor-walker said, Yes, that was so; and the house did it because it was business, good business, the only good business. He was instantly enthusiastic, and he said that just in the same way, as an extension of its good faith with the public, the house had established the rule of taking back any article which a customer did not like, or did not find what she had supposed when she got it home, and refunding the money. This was the best sort of business; it held custom; the woman became a customer for life. The floor-walker laughed, and after he had told an anxious applicant, "Second aisle to the left, lady; three counters back," he concluded to Erlcort, "I say she because a man never brings a thing back when he's made a mistake; but a woman can always blame it on the house. That so?"

Erlcort laughed with him, and in going out he stopped at the book-counter. Rather it was a bookstore, and no small one, with ranks of new books covering the large tables and mounting to their level from the floor, neatly piled, and with shelves of complete editions and soberer-looking volumes stretching along the wall as high as the ceiling. "Do you happen to have a good book--a book that would read good, I mean--in your stock here?" he asked the neat blonde behind the literary barricade.

"Well, here's a book that a good many are reading," she answered, with prompt interest and a smile that told in the book's favor; it was a protectingly filial and guardedly ladylike smile.

"Yes, but is it a book worth reading--worth the money?"

"Well, I don't know as I'm a judge," the kind little blonde replied. She added, daringly, "All I can say is, I set up till two last night to finish it."

"And you advise me to buy it?"

"Well, we're not allowed to do that, exactly. I can only tell you what I know."

"But if I take it, and it isn't what I expected, I can return it and get my money back?"

"That's something I never was asked before. Mr. Jeffers! Mr. Jeffers!" she called to a floor-walker passing near; and when he stopped and came up to the counter, she put the case to him.

He took the book from Erlcort's hand and examined the outside of it curiously if not critically. Then he looked from it to Erlcort, and said, "Oh, how do you do again! Well, no, sir; I don't know as we could do that. You see, you would have to read it to find out that you didn't want it, and that would be like using or wearing an article, wouldn't it? We couldn't take back a thing that had been used or worn--heigh?"

"But you might have some means of knowing whether a book is good or not?"

"Well, yes, we might. That's a point we have never had raised before. Miss Prittiman, haven't we any means of knowing whether a book's something we can guarantee or not?"

"Well, Mr. Jeffers, there's the publisher's advertisement."

"Why, yes, so there is! And a respectable publisher wouldn't indorse a book that wasn't the genuine article, would he now, sir?"

"He mightn't," Erlcort said, as if he felt the force of the argument.

"And there are the notices in the newspapers. They ought to tell," Miss Prittiman added, more convincingly. "I don't know," she said, as from a sensitive conscience, "whether there have been any about this book yet, but I should think there would be."

"And in the mean time, as you won't guarantee the book so that I can bring it back and get my money if I find it worthless, I must accept the publisher's word?" Erlcort pressed further.

"I should think you could do that," the floor-walker suggested, with the appearance of being tired.

"Well, I think I will, for once," Erlcort relented. "But wait! What does the publisher say?"

"It's all printed on this slip inside," the blonde said, and she showed it as she took the book from him. "Shall I send it? Or will you--"

"No, no, thank you, I'll take it with me. Let me--"

He kept the printed slip and began to read it. The blonde wrapped the book up and laid it with a half-dollar in change on the counter before Erlcort. The floor-walker went away; Erlcort heard him saying, "No, madam; toys on the fifth floor, at the extreme rear, left," while he lost himself in the glowing promises of the publisher. It appeared that the book he had just bought was by a perfectly new author, an old lady of seventy who had never written a novel before, and might therefore be trusted for an entire freshness of thought and feeling. The plot was of a gripping intensity; the characters were painted with large, bold strokes, and were of an unexampled virility; the story was packed with passion from cover to cover; and the reader would be held breathless by the author's skill in working from the tragic conditions to an all-round happy conclusion.

From time to time Erlcort heard the gentle blonde saying such things as, "Oh yes; it's the best-seller, all right," and, "All I can say is I set up till two o'clock in the morning to finish it," and, "Yes, ma'am; it's by a new writer; a very old lady of seventy who is just beginning to write; well, that's what I _heard_."

On his way up-town in the Subway he clung to the wonted strap, unsupported by anything in the romance which he had bought; and yet he could not take the book back and get his money, or even exchange it for some article of neckwear or footwear. In his extremity he thought he would try giving it to the trainman just before he reached his stop.

"You want to _give_ it to me? Well, that's something that never happened to me on _this_ line before. I guess my wife will like it. I--_1009th Street! Change for East Brooklyn and the Bronx!_" the guard shouted, and he let Erlcort out of the car, the very first of the tide that spilled itself forth at the station. He called after him, "Do as much for you some time."

The incident first amused Erlcort, and then it began to trouble him; but he appeased his remorse by toying with his old notion of a critical bookstore. His mind was still at play with it when he stopped at the bell-pull of an elderly girl of his acquaintance who had a studio ten stories above, and the habit of giving him afternoon tea in it if he called there about five o'clock. She had her ugly painting-apron still on, and her thumb through the hole in her palette, when she opened her door to him.

"Too soon?" he asked.

She answered as well as she could with the brush held horizontally in her mouth while she glared inhospitably at him. "Well, not much," and then she let him in, and went and lighted her spirit-lamp.

He began at once to tell her of his strange experience, and went on till she said: "Well, there's your tea. _I_ don't know what you've been driving at, but I suppose you do. Is it the old thing?"

"It's my critical bookstore, if that's what you call the old thing."

"Oh! _That!_ I thought it had failed 'way back in the dark ages."

"The dark ages are not _back_, please; they're all 'round, and you know very well that my critical bookstore has never been tried yet. But tell me one thing: should you wish to live with a picture, even for a few hours, which had been painted by an old lady of seventy who had never tried to paint before?"

"If I intended to go crazy, yes. What has all that got to do with it?"

"That's the joint commendation of the publisher and the kind little blonde who united to sell me the book I just gave to that poor Subway trainman. Do you ever buy a new book?"

"No; I always borrow an old one."

"But if you _had_ to buy a new one, wouldn't you like to know of a place where you could be sure of getting a good one?"

"I shouldn't mind. Or, yes, I should, rather. Where's it to be?"

"Oh, I know. I've had my eye on the place for a good while. It's a funny old place in Sixth Avenue--"

"Sixth _Avenue_!"

"Don't interrupt--where the dearest old codger in the world is just going out of the house-furnishing business in a small way. It's kept getting smaller and smaller--I've watched it shrink--till now it can't stand up against the big shops, and the old codger told me the other day that it was no use."

"Poor fellow!"

"No. He's not badly off, and he's going back up-state where he came from about forty years ago, and he can live--or die--very well on what he's put by. I've known him rather a good while, and we've been friends ever since we've been acquainted."

"Go on," the elderly girl said.

Erlcort was not stopping, but she spoke so as to close her mouth, which she was apt to let hang open in a way that she did not like; she had her intimates pledged to tell her when she was doing it, but she could not make a man promise, and she had to look after her mouth herself with Erlcort. It was not a bad mouth; her eyes were large, and it was merely large to match them.

"When shall you begin--open shop?" she asked.

"My old codger's lease expires in the fall," he answered, "but he would be glad to have me take it off his hands this spring. I could give the summer to changing and decorating, and begin my campaign in the fall--the first of October, say. Wouldn't you like to come some day and see the old place?"

"I should love it. But you're not supposing I shall be of the least use, I hope? I'm not decorational, you know. Easel pictures, and small ones at that."

"Of course. But you are a woman, and have ideas of the cozy. I mean that the place shall be made attractive."

"Do you think the situation will be--on Sixth Avenue?"

"It will be quaint. It's in a retarded region of low buildings, with a carpenter's shop two doors off. The L roars overhead and the surface cars squeal before, but that is New York, you know, and it's very central. Besides, at the back of the shop, with the front door shut, it is very quiet."

The next day the friends lunched together at an Italian restaurant very near the place, and rather hurried themselves away to the old codger's store.

"He _is_ a dear," Margaret whispered to Erlcort in following him about to see the advantages of the place.

"Oh, mine's setting-hen's time," he justified his hospitality in finally asking them to take seats on a nail-keg apiece. "You mustn't think you're interruptin'. Look 'round all ye want to, or set down and rest ye."

"That would be a good motto for your bookstore," she screamed to Erlcort, when they got out into the roar of the avenue. "'Look 'round all ye want to, or set down and rest ye.' Wasn't he sweet? And I don't wonder you're taken with the place: it _has_ such capabilities. You might as well begin imagining how you will arrange it."

They were walking involuntarily up the avenue, and when they came to the Park they went into it, and in the excitement of their planning they went as far as the Ramble, where they sat down on a bench and disappointed some squirrels who supposed they had brought peanuts with them.

They decided that the front of the shop should be elaborately simple; perhaps the door should be painted black, with a small-paned sash and a heavy brass latch. On each side should be a small-paned show-window, with books laid inside on an inclined shelving; on the door should be a modest bronze plate, reading, "The Critical Bookstore." They rejected _shop_ as an affectation, and they hooted the notion of "Ye Critical Bookstore" as altogether loathsome. The door and window would be in a rather belated taste, but the beautiful is never out of date, and black paint and small panes might be found rococo in their old-fashionedness now. There should be a fireplace, or perhaps a Franklin stove, at the rear of the room, with a high-shouldered, small-paned sash on each side letting in the light from the yard of the carpenter-shop. On the chimneypiece should be lettered, "Look 'round all ye want to, or set down and rest ye."

The genius of the place should be a refined hospitality, such as the gentle old codger had practised with them, and to facilitate this there should be a pair of high-backed settles, one under each window. The book-counter should stretch the whole length of the store, and at intervals beside it, against the book-shelving, should be set old-fashioned chairs, but not too old-fashioned. Against the lower book-shelves on a deeper shelf might be stood against the books a few sketches in water-color, or even oil.

This was Margaret Green's idea.

"And would you guarantee the quality?" Erlcort asked.

"Perhaps they wouldn't be for sale, though if any one insisted--"

"I see. Well, pass the sketches. What else?"

"Well, a few little figures in plaster, or even marble or bronze, very Greek, or very American; things in low relief."

"Pass the little figures and low reliefs. But don't forget it's a _bookstore_."