Cane

was like a hollow report, ages having passed since it went off. Barlo and I were pulled out of our seats. Dragged to the door that had swung open. Through the dust we saw the bricks in a mound upon the floor. Becky, if she was there, lay under them. I thought I heard a groan. Barlo, mumbling something, threw his Bible on the pile. (No one has ever touched it.) Somehow we got away. My buggy was still on the road. The last thing that I remember was whipping old Dan like fury; I remember nothing after that⁠—that is, until I reached town and folks crowded round to get the true word of it.

Becky was the white woman who had two Negro sons. She’s dead; they’ve gone away. The pines whisper to Jesus. The Bible flaps its leaves with an aimless rustle on her mound.

Face

Hair⁠—
silver-gray,
like streams of stars,
Brows⁠—
recurved canoes
quivered by the ripples blown by pain,
Her eyes⁠—
mist of tears
condensing on the flesh below
And her channeled muscles
are cluster grapes of sorrow
purple in the evening sun
nearly ripe for worms.

Cotton Song

Come, brother, come. Lets lift it;
Come now, hewit! roll away!
Shackles fall upon the Judgment Day
But lets not wait for it.

God’s body’s got a soul,
Bodies like to roll the soul,
Cant blame God if we dont roll,
Come, brother, roll, roll!

Cotton bales are the fleecy way
Weary sinner’s bare feet trod,
Softly, softly to the throne of God,
“We aint agwine t wait until th Judgment Day!

Nassur; nassur,
Hump.
Eoho, eoho, roll away!
We aint agwine t wait until th Judgment Day!”

God’s body’s got a soul,
Bodies like to roll the soul,
Cant blame God if we dont roll,
Come, brother, roll, roll!

Carma

Wind is in the cane. Come along.
Cane leaves swaying, rusty with talk,
Scratching choruses above the guinea’s squawk,
Wind is in the cane. Come along.

Carma, in overalls, and strong as any man, stands behind the old brown mule, driving the wagon home. It bumps, and groans, and shakes as it crosses the railroad track. She, riding it easy. I leave the men around the stove to follow her with my eyes down the red dust road. Nigger woman driving a Georgia chariot down an old dust road. Dixie Pike is what they call it. Maybe she feels my gaze, perhaps she expects it. Anyway, she turns. The sun, which has been slanting over her shoulder, shoots primitive rockets into her mangrove-gloomed, yellow flower face. Hi! Yip! God has left the Moses-people for the nigger. “Gedap.” Using reins to slap the mule, she disappears in a cloudy rumble at some indefinite point along the road.

(The sun is hammered to a band of gold. Pine-needles, like mazda, are brilliantly aglow. No rain has come to take the rustle from the falling sweet-gum leaves. Over in the forest, across the swamp, a sawmill blows its closing whistle. Smoke curls up. Marvelous web spun by the spider sawdust pile. Curls up and spreads itself pine-high above the branch, a single silver band along the eastern valley. A black boy⁠ ⁠… you are the most sleepiest man I ever seed, Sleeping Beauty⁠ ⁠… cradled on a gray mule, guided by the hollow sound of cowbells, heads for them through a rusty cotton field. From down the railroad track, the chug-chug of a gas engine announces that the repair gang is coming home. A girl in the yard of a whitewashed shack not much larger than the stack of worn ties piled before it, sings. Her voice is loud. Echoes, like rain, sweep the valley. Dusk takes the polish from the rails. Lights twinkle in scattered houses. From far away, a sad strong song. Pungent and composite, the smell of farmyards is the fragrance of the woman. She does not sing; her body is a song. She is in the forest, dancing. Torches flare⁠ ⁠… juju men, greegree, witch-doctors⁠ ⁠… torches go out⁠ ⁠… The Dixie Pike has grown from a goat path in Africa.

Night.

Foxie, the bitch, slicks back her ears and barks at the rising moon.)

Wind is in the corn. Come along.
Corn leaves swaying, rusty with talk,
Scratching choruses above the guinea’s squawk,
Wind is in the corn. Come along.

Carma’s tale is the crudest melodrama. Her husband’s in the gang. And its her fault he got there. Working with a contractor, he was away most of the time. She had others. No one blames her for that. He returned one day and hung around the town where he picked up week-old boasts and rumors⁠ ⁠… Bane accused her. She denied. He couldnt see that she was becoming hysterical. He would have liked to take his fists and beat her. Who was strong as a man. Stronger. Words, like corkscrews, wormed to her strength. It fizzled out. Grabbing a gun, she rushed from the house and plunged across the road into a canebrake⁠ ⁠… There, in quarter heaven shone the crescent moon⁠ ⁠… Bane was afraid to follow till he heard the gun go off. Then he wasted half an hour gathering the neighbor men. They met in the road where lamplight showed tracks dissolving in the loose earth about the cane. The search began. Moths flickered the lamps. They put them out. Really, because she still might be live enough to shoot. Time and space have no meaning in a canefield. No more than the interminable stalks⁠ ⁠… Someone stumbled over her. A cry went up. From the road, one would have thought that they were cornering a rabbit or a skunk⁠ ⁠… It is difficult carrying dead weight through cane. They placed her on the sofa. A curious, nosey somebody looked for the wound. This fussing with her clothes aroused her. Her eyes were weak and pitiable for so strong a woman. Slowly, then like a flash, Bane came to know that the shot she fired, with averted head, was aimed to whistle like a dying hornet through the cane. Twice deceived, and one deception proved the other. His head went off. Slashed one of the men who’d helped, the man who’d stumbled over her. Now he’s in the