Short Fiction Kate Chopin (best e reader for android .txt) 📖

her to cook for pigs he had only to say so. She knew how to cook for pigs and she knew how to cook for people of les Avoyelles.

The gumbo smelled good, and Telèsphore would have liked a taste of it. Douté was dragging from the fire a stick of wood that Foché had officiously thrust beneath the simmering pot, and she muttered as she hurled it smouldering to one side:

“Vaux mieux y s’méle ces affairs, lui; si non!” But she was all courtesy as she dipped a steaming plate for Telèsphore; though she assured him it would not be fit for a Christian or a gentleman to taste till midnight.

Telèsphore having brushed, “spruced” and refreshed himself, strolled about, taking a view of the surroundings. The house, big, bulky and weather-beaten, consisted chiefly of galleries in every stage of decrepitude and dilapidation. There were a few chinaberry trees and a spreading live oak in the yard. Along the edge of the fence, a good distance away, was a line of gnarled and distorted mulberry trees; and it was there, out in the road, that the people who came to the ball tied their ponies, their wagons and carts.

Dusk was beginning to fall and Telèsphore, looking out across the prairie, could see them coming from all directions. The little Creole ponies galloping in a line looked like hobby horses in the faint distance; the mule-carts were like toy wagons. Zaïda might be among those people approaching, flying, crawling ahead of the darkness that was creeping out of the far wood. He hoped so, but he did not believe so; she would hardly have had time to dress.

Foché was noisily lighting lamps, with the assistance of an inoffensive mulatto boy whom he intended in the morning to butcher, to cut into sections, to pack and salt down in a barrel, like the Colfax woman did to her old husband⁠—fitting destiny for so stupid a pig as the mulatto boy. The negro musicians had arrived: two fiddlers and an accordion player, and they were drinking whiskey from a black quart bottle which was passed socially from one to the other. The musicians were really never at their best till the quart bottle had been consumed.

The girls who came in wagons and on ponies from a distance wore, for the most part, calico dresses and sunbonnets. Their finery they brought along in pillow-slips or pinned up in sheets and towels. With these they at once retired to an upper room; later to appear be-ribboned and be-furbelowed; their faces masked with starch powder, but never a touch of rouge.

Most of the guests had assembled when Zaïda arrived⁠—“dashed up” would better express her coming⁠—in an open, two-seated buckboard, with her cousin Jules driving. He reined the pony suddenly and viciously before the time-eaten front steps, in order to produce an impression upon those who were gathered around. Most of the men had halted their vehicles outside and permitted their women folk to walk up from the mulberry trees.

But the real, the stunning effect was produced when Zaïda stepped upon the gallery and threw aside her light shawl in the full glare of half a dozen kerosene lamps. She was white from head to foot⁠—literally, for her slippers even were white. No one would have believed, let alone suspected that they were a pair of old black ones which she had covered with pieces of her first communion sash. There is no describing her dress, it was fluffy, like a fresh powder-puff, and stood out. No wonder she had handled it so reverentially! Her white fan was covered with spangles that she herself had sewed all over it; and in her belt and in her brown hair were thrust small sprays of orange blossom.

Two men leaning against the railing uttered long whistles expressive equally of wonder and admiration.

“Tiens! t’es pareille comme ain mariée, Zaïda;” cried out a lady with a baby in her arms. Some young women tittered and Zaïda fanned herself. The women’s voices were almost without exception shrill and piercing; the men’s, soft and low-pitched.

The girl turned to Telèsphore, as to an old and valued friend:

“Tiens! c’est vous?” He had hesitated at first to approach, but at this friendly sign of recognition he drew eagerly forward and held out his hand. The men looked at him suspiciously, inwardly resenting his stylish appearance, which they considered instrusive, offensive and demoralizing.

How Zaïda’s eyes sparkled now! What very pretty teeth Zaïda had when she laughed, and what a mouth! Her lips were a revelation, a promise; something to carry away and remember in the night and grow hungry thinking of next day. Strictly speaking, they may not have been quite all that; but in any event, that is the way Telèsphore thought about them. He began to take account of her appearance: her nose, her eyes, her hair. And when she left him to go in and dance her first dance with cousin Jules, he leaned up against a post and thought of them: nose, eyes, hair, ears, lips and round, soft throat.

Later it was like Bedlam.

The musicians had warmed up and were scraping away indoors and calling the figures. Feet were pounding through the dance; dust was flying. The women’s voices were piped high and mingled discordantly, like the confused, shrill clatter of waking birds, while the men laughed boisterously. But if someone had only thought of gagging Foché, there would have been less noise. His good humor permeated everywhere, like an atmosphere. He was louder than all the noise; he was more visible than the dust. He called the young mulatto (destined for the knife) “my boy” and sent him flying hither and thither. He beamed upon Douté as he tasted the gumbo and congratulated her: “C’est toi qui s’y connais, ma fille! ’cré tonnerre!”

Telèsphore danced with Zaïda and then he leaned out against the post; then he danced with Zaïda, and then he leaned against the post.