Cane. Jean Toomer

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      Six trains each day rumbled past and shook the ground under her cabin. Fords, and horse and mule-drawn buggies went back and forth along the road. No one ever saw her. Trainmen, and passengers who’d heard about her, threw out papers and food. Threw out little crumpled slips of paper scribbled with prayers, as they passed her eye-shaped piece of sandy ground. Ground islandized between the road and railroad track. Pushed up where a bluesheen God with listless eyes could look at it. Folks from the town took turns, unknown, of course, to each other, in bringing corn and meat and sweet potatoes. Even sometimes snuff . . . O thank y Jesus . . . Old David Georgia, grinding cane and boiling syrup, never went her way without some sugar sap. No one ever saw her. The boy grew up and ran around. When he was five years old as folks reckoned it, Hugh Jourdon saw him carrying a baby. “Becky has another son,” was what the whole town knew. But nothing was said, for the part of man that says things to the likes of that had told itself that if there was a Becky, that Becky now was dead.

      The two boys grew. Sullen and cunning . . . O pines, whisper to Jesus; tell Him to come and press sweet Jesus-lips against their lips and eyes . . . It seemed as though with those two big fellows there, there could be no room for Becky. The part that prayed wondered if perhaps she’d really died, and they had buried her. No one dared ask. They’d beat and cut a man who meant nothing at all in mentioning that they lived along the road. White or colored? No one knew, and least of all themselves. They drifted around from job to job. We, who had cast out their mother because of them, could we take them in? They answered black and white folks by shooting up two men and leaving town. “Godam the white folks; godam the niggers,” they shouted as they left town. Becky? Smoke curled up from her chimney; she must be there. Trains passing shook the ground. The ground shook the leaning chimney. Nobody noticed it. A creepy feeling came over all who saw that thin wraith of smoke and felt the trembling of the ground. Folks began to take her food again. They quit it soon because they had a fear. Becky if dead might be a hant, and if alive—it took some nerve even to mention it . . . O pines, whisper to Jesus . . .

      It was Sunday. Our congregation had been visiting at Pulverton, and were coming home. There was no wind. The autumn sun, the bell from Ebenezer Church, listless and heavy. Even the pines were stale, sticky, like the smell of food that makes you sick. Before we turned the bend of the road that would show us the Becky cabin, the horses stopped stock-still, pushed back their ears, and nervously whinnied. We urged, then whipped them on. Quarter of a mile away thin smoke curled up from the leaning chimney . . . O pines, whisper to Jesus . . . Goose-flesh came on my skin though there still was neither chill nor wind. Eyes left their sockets for the cabin. Ears burned and throbbed. Uncanny eclipse! fear closed my mind. We were just about to pass . . . Pines shout to Jesus! . . . the ground trembled as a ghost train rumbled by. The chimney fell into the cabin. Its thud 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 whippingold 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, witchdoctors . . . 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 cane. Come along.

      Cane leaves swaying, rusty with talk,

      Scratching choruses above the guinea’s squawk,

      Wind is in the cane. Come along.

      Carma’s tale is the crudest melodrama. Her husband’s in the gang.