Sunday, December 15, 2024

Let's write about human migration and how fiction can better frame the tragic impact it has on the human condition

No Place to Bury the Dead’ is a moving meditation on migration, displacement and loss, an essay and review by Ilana Masad published in the Los Angeles Times: 

Fiction can often better define the history about the human condition than investigative reporting.  Consider Uncle Tom's Cabin, by Harriet Beecher Stowe, the epic of Evangeline, by Henry Wadsworth Longfellow, Gone With the Wind, by Margaret Mitchell and Roots, by Alex Haley, Grapes of Wrath by John Steinbeck and other classics....

In a fictional town not far from the border of an unnamed Latin American country, a woman named Visitación Salazar has made it her mission to provide a resting place for the unlucky dead — those who have been abandoned or whose families can’t afford to bury them elsewhere. The Third Country, as her unofficial, unsanctioned cemetery is called, should be a place of mercy where the ritual of burial provides comfort. But despite Visitación’s best efforts, it is also a place of violence; the land is owned by a powerful businessman, Abundio, and sought after by the irregulars, a guerrilla army sowing terror and selling heroin to fund its fight against the state.


Into this tense situation comes Angustias Romero, the protagonist of the second novel by the Venezuelan journalist Karina Sainz Borgo, “No Place to Bury the Dead,” translated from Spanish by Elizabeth Bryer. Like the author’s first novel, “It Would Be Night in Caracas,” it revolves around grief and motherhood, only this time from the perspective of mother rather than daughter.

Angustias wasn’t supposed to end up at the Third Country. She and her husband left their home in a place described as the eastern mountains to escape a plague of amnesia sweeping their region — echoing a similar epidemic in Gabriel García Márquez’s “One Hundred Years of Solitude” — and leaving the population disoriented and despairing.

“Men went out into the street to wait,” Angustias narrates. “For what? I never found out. We women did whatever we could to keep despair at bay: We gathered food, opened and closed windows, climbed up to the rooftops, swept the patios. We gave birth heaving and shouting like those madwomen whom no one offers even a sip of water. Life concentrated in us, in what we, until then, had been capable of holding on to, or pushing out.”

Women’s strength — terrible, tragic and, in the most dire circumstances, necessary — is emphasized throughout the book. Indeed, it takes much strength for Angustias to leave the plague-ridden place she knows. But she’s concerned about her twin baby boys, born very prematurely and with a heart defect, and hopes that going west will keep them safe.

Instead, the babies die soon after they cross the mountains, which is how Angustias winds up searching for Visitación. Once she’s buried the boys at the cemetery, she insists on staying there to be close to them. She earns her keep by mixing cement for the vaults Visitación builds for the dead and, over time, also learns to clean and prepare the bodies for the graves.

The novel’s plot follows the growing existential threat to the Third Country and its caretakers as the cruel, grasping Abundio sends his lackeys after them and the irregulars increasingly make their presence known through threats and violence. The powers converging to get Visitación and her dead off the land are immense. Yet both women stand strong — Visitación out of stubbornness and a sense of divine purpose, Angustias from the grief tying her to her sons’ grave.

Yet the plot isn’t really the point of “No Place to Bury the Dead,” which often dwells on quiet moments of pain, showcasing the small ways a migration crisis robs people of their dignity.


In Mezquite, the town closest to the cemetery, hundreds of migrants wait at city hall to be relocated. In Cucaña, some 40 miles closer to the border, all the women have terribly shorn heads — which Angustias notices because she was a hairdresser with her own salon in her former life — having sold their hair for a pittance. 

With few other options for raising money, the town’s women turn to sex work, while the girls handle child care and scavenge for things to sell. As for the men and boys, they rarely seem to be of much use.

Sainz Borgo’s depictions have some unsettling dimensions. Visitación, a 60-year-old, evangelical Black woman who drinks, smokes, has several boyfriends and enjoys showing off her body, may read as a caricature to some. Críspulo, an Indigenous farmhand who works for Abundio, is horribly abused but cartoonishly
villainous as a result.

At the same time, Angustias’ development is moving, her delicate, quiet steeliness contrasting wonderfully with Visitación’s big, loud, insistent personality. Late in the book, Angustias addresses Visitación’s strangely proprietary relationship with the cemetery inhabitants she refers to as “My dead”:

“There was one and only one truth, and nothing could change it: all these men and women were dead, and they were never coming back. That was the only sure thing, and there was nothing Visitación or anyone could do to change it. The dead were not hers. They did not belong to those who cursed them or longed for them. Not even my sons were entirely mine, even if they were the reason I had remained here.”

This novel ultimately serves as a deeply felt meditation on migration, mourning and the simultaneous entanglement and estrangement of the living and the dead.

Ilana Masad is a books and culture critic and the author of “All My Mother’s Lovers.”

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Sunday, December 08, 2024

Let's Write about "The Night Before Christmas" back in the days before copyright!

 a copy of “A Visit From St. Nicholas” that only recently turned up

A Famous Christmas Poem Could Sell for $500,000
Report published in The New York Times by James Barron.

“There it is, the beginning of the modern Christmas,” Peter Klarnet said, as I picked up a faded handwritten copy of a poem and squinted at the lines most of us know, starting with “’Twas the night before Christmas, when all through the house.”

Klarnet is a senior specialist in Americana, books and manuscripts at Christie’s, which was preparing to sell the paper I was holding — for around $500,000. No wonder he was concerned about what else was in my hand. “Let’s watch that pen,” he said as his eyes locked on my ballpoint.

I put it down and went back to the ornate little loops and curls that formed Clement Clarke Moore’s familiar words.

The main character was “a right jolly old elf.” The R and the E start as far below the rest of the line as the J.

St. Nicholas’s supporting cast, the “eight tiny reindeer,” was introduced three lines from the bottom of the first page. Their names, all underlined, appeared on the second page. The last line — “Happy Christmas to all, and to all a good night!” — was also underlined.

“A Visit From St. Nicholas,” as Moore titled the poem, clinched the transformation of a Dutch saint into an American icon. Washington Irving, who created Rip Van Winkle and the headless horseman of Sleepy Hollow, wrote a satire poking fun at the Dutch who originally controlled New York. One of his characters, Peter the Headstrong, was a fairly obvious caricature of the Dutch governor Peter Stuyvesant, who had to hand over New Amsterdam to the British — who, in turn, renamed the city New York.
Moore’s readers might not have recognized Irving’s St. Nicholas: He had a broad-brimmed hat. Moore made him more likable and more relatable. And, still later in the 19th century, the cartoonist Thomas Nast drew the portly image that stuck in people’s minds.

Klarnet said he had found the copy of “A Visit From St. Nicholas,” the fifth in Moore’s handwriting, among manuscripts that belonged to relatives of Adrian Van Sinderen, a prominent collector who died in 1963. It’s probably not surprising that Moore’s poem would have appealed to Van Sinderen: He wrote 25 books that had to do with Christmas, according to his obituary in The New York Times.

There is no known original manuscript of “A Visit From St. Nicholas.” Perhaps that is because Moore did not want his reputation as a serious academic brought down by something so frivolous. He taught Hebrew and Greek literature at the General Theological Seminary in Chelsea.  (Maine Writer- Ahhhh, 💕💕😍 , back in the days before copyright and royalties....so, in the history of publishing, this adorable story is truly a Christmas gift to the world.)

The original may have been what was sent to a friend in Troy, N.Y., who passed along the poem to a local newspaper that published it — anonymously — in 1823. Moore finally acknowledged authorship when he published a book of poems in 1844. (The family of Henry Livingston Jr. later claimed that Livingston had written it. Klarnet said the evidence pointed to Moore, because the editor of the Troy paper described the author of the poem as a resident of New York City. Livingston lived upstate.)

No one seems to know how Van Sinderen obtained the copy now at Christie’s, which has a discoloration on the first page, probably from where it had been pressed against a smaller piece of paper, Klarnet said.


The copy first showed up in a magazine called St. Nicholas in the early 1870s. Someone had apparently photographed the first page of the copy, and the magazine made an engraving from the photo, Klarnet said. 

That tripped him up. At first, he suspected that the copy was merely a facsimile engraving. Only later, when he took a closer look and noticed changes in the tone of the ink from word to word, did he conclude that it was an actual handwritten copy.

“You see how much darker the exclamation point is?” he asked, pointing to the one after Vixen’s name. In an engraving, he said, the punctuation would not have looked like that.

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Monday, November 25, 2024

Let's write about the life of author Nathaniel Hawthorne!

This review does not mention how one of Nathaniel Hawthorne's Daughters became a religious convert to Catholicism while in England and is considered for cannonization based on her devotion to care for the dying.  Read her biography in "Sorrow Built a Bridge", by Katherine Burton. The Life of Mother Alphonsa daughter of Nathaniel Hawthorne. Written by Katherine Burton. Published by Image Books First printing 10/1956. A division of Double Day, New York.


Hawthorne’s Mood Swings an echo book review and essay published The New York Review by Tim Parks
Just as he was given to periods of melancholy and cheer, Nathaniel Hawthorne’s stories offer a constant back-and-forth between light and dark, town and wilderness, loneliness and society.
Nathaniel Hawthorne (1804 b. Salem MA - 1864 d. Plymouoth NH)
Returning to Hawthorne after many years and remembering, particularly in The Scarlet Letter and Young Goodman Brown, a general atmosphere of Puritan rigor versus demonic hedonism, one expects to find a man torn between vice and virtue. It is not the case. Nothing in Hawthorne’s life, as described in lengthy biographies by Arlin Turner, James R. Mellow, and Brenda Wineapple,
or in the new, briefer account by Dale Salwak, suggests that he saw himself as particularly sinful or strove to be strictly virtuous. One need only consider biographies of his near contemporaries Dostoevsky and Tolstoy, for whom moral struggle was always to the fore, to appreciate how little Hawthorne was troubled by such matters. Even in The Scarlet Letter one finds two protagonists whose only sin is long behind them; neither Hester Prynne nor Arthur Dimmesdale seems tempted to further transgression. In many ways their lives are exemplary. Goodman Brown neither commits nor witnesses any crime; for reasons never explained he leaves his wife to spend just one night in the forest. If he is planning to sell his soul to the devil, we do not know what he hopes for in exchange. In any event, his nightmare vision of an entire community secretly dedicated to Satan proves fatal: he spends the rest of his life alienated from his fellow men in a state of misanthropic depression. It was a mood the author himself was often accused of.

Nathaniel Hawthorne was born in Salem, Massachusetts, in 1804. His father, a ship’s captain, died of yellow fever in Suriname in 1808. Since the once-prominent Hawthorne family had fallen on hard times, his mother, a Manning, took her three children, Elizabeth, Nathaniel, and Louisa, back to her family home, where her eight brothers and sisters, none married, lived under the same roof. Castle Dismal, Hawthorne later called it. As the only male child among so many adults, he was “particularly petted.” At the same time his mother withdrew into a melancholic semi-seclusion. Hence, for the children, there were two distinct poles of belonging: the Hawthornes and the Mannings. The older Elizabeth gravitated toward her grieving mother, the younger Louisa toward her busy aunts and uncles; in the middle, Nathaniel was a Hawthorne depending for everything on the Mannings.

The boy loathed school and took advantage of poor health to avoid it. When, in his teens, his mother moved to the Mannings’ more remote property in Maine, Nathaniel followed her, but eventually his aunts and uncles insisted that he return to Salem for his schooling. “Why was I not a girl,” he complained, “that I might have been pinned all my life to my Mother’s apron?”

The Mannings’ extensive business interests had not been split up on their father’s death in 1813, and the family became “uncommonly close,” Turner tells us, administering the estate together. In 1821, at some expense, they sent Nathaniel to Bowdoin College. It was the first time a family member had pursued education to this level. Hawthorne became friends with the future poet Henry Wadsworth Longfellow and the future president Franklin Pierce. Regularly fined for playing cards and drinking wine, he graduated in 1825 (eighteenth in a class of thirty-seven) and returned to the Manning household where, rather than entering a profession or devoting himself to business, as was no doubt expected, he shut himself up in a “chamber under the eaves” to write—for twelve years.

Salwak’s biography does not seek to compete with the richly detailed accounts of his predecessors but focuses on his enthusiasm for Hawthorne’s writing and his attempts to transmit that enthusiasm to his students over decades of teaching at Citrus College in Glendora, California. “Creation,” he tells his class, “is always the successful resolution of internal conflict or anxiety.” Certainly the conflict in Fanshawe, Hawthorne’s first novel, is clear enough and has nothing to do with sin or guilt. Published anonymously in 1828, it presents us with an introvert scholar and an extrovert poet both in love with a beautiful heiress who is kidnapped by villains. Fanshawe the scholar courageously saves her but renounces the chance of marriage to dedicate his life to study. When the poet marries the heiress, she lures him away from his writing, since it “would have interfered with domestic felicity.” Studying with “absorbing ardor,” Fanshawe wastes away and dies.

Salwak wonders why, having published the novel at his own expense and to some good reviews, Hawthorne quickly withdrew it, sought to destroy all existing copies, and enjoined his nearest and dearest to eternal silence on the matter. Was the story too “confessional”? Did it fall “short of his high standards”? The fear of seeming “unworthy” of family and friends would be a constant in Hawthorne’s life (he regularly burned his letters to avoid revealing himself), as was the opposite concern that society was unworthy of him (he avoided “rude encounters with the multitude”). But perhaps a deeper problem was that the conflict driving the novel—the competing demands of social convention and individual aspiration—had been neither convincingly defined nor successfully resolved: Why was this young man to expect nothing better than bland obscurity or lonely death?

Engaging in an intense reading of local history, over many years, Hawthorne began to produce short stories in which his own concerns and dilemmas were reimagined in a remote Massachusetts past whose traditions and superstitions allowed him to conjure a gothic or fable-like atmosphere around events. Anonymous publication in local magazines “opened the way,” he later remembered, “to most agreeable associations, and to the formation of imperishable friendships.” Writing in isolation, he had discovered a community and accrued some prestige to satisfy supportive relatives.

If Salwak’s approach disappoints, it is when he passes from shrewd observations about the general drift of Hawthorne’s writing (“preoccupied with isolation and loneliness,” featuring protagonists “unable to identify [with] the General Will”) to simplistic, moralizing interpretations of individual stories. “The Minister’s Black Veil” (1835) was the first story that Hawthorne allowed to appear under his name. For Salwak, this tale of a young pastor who suddenly presents himself before his congregation wearing a black veil and, offering no explanation, never removes it for the rest of his life is “a crowning achievement about secret sin,” a parable “about the common practice of hiding behind appearances rather than facing the truth of ourselves.”

But the minister is hardly concealing himself as his parishioners might, nor, though he preaches about “secret sin,” does he ever confess to such a thing. Betrothed but as yet unmarried, a man who labored under “so painful a degree of self-distrust, that even the mildest censure would lead him to consider an indifferent action as a crime,” in choosing to wear the veil he draws enormous attention to himself and creates great insecurity in others. His wife-to-be abandons him. Like Goodman Brown he becomes “a bugbear,” “a man apart,” separated “from cheerful brotherhood.”

A wry comedy animates the story, as the need to give meaning to the clergyman’s “vagary” betrays the fevered workings of the collective imagination. The “one desirable effect,” the narrator tells us, was that the minister “became a man of awful power over souls that were in agony for sin. 😉😅” Could he, the reader wonders, have chosen to wear the veil to gain that power, or, as Wineapple suggests, to avoid the intimacy of impending marriage, or because, inclined as he is to believe himself sinful, he takes his “indifferent” actions too seriously? Hawthorne delights in not telling us. At last presenting himself to the world as an author, he takes no position with regard to the disturbing story he offers and reveals nothing about himself except perhaps the determination to reveal nothing; in this he resembles the minister, who always had, we are told, a melancholy smile playing on his lips just beneath the veil.

Three other stories followed in quick succession. Marriage was a theme in all of them. In “The Wedding Knell” an elderly scholar marrying an elderly widow turns up to the wedding in his grave clothes and suggests the couple move directly from the altar to coffins. In “The Maypole of Merry Mount” Edith and Edgar are celebrating their wedding in the hedonistic community of Merry Mount when Puritans raid the settlement and chop down the Maypole, regretting that it couldn’t serve as a whipping post. “Jollity and gloom were contending for an empire,” the narrator observes. James Mellow remarks on an “unwritten prohibition against love and marriage that thwarts many of Hawthorne’s heroes.”

Salwak denies that Hawthorne was actually depressed in these twelve secluded years. From an exchange of letters with an old college friend in 1836, Turner deduces that he had been talking of suicide. A notebook kept the following summer during a trip to Maine includes frequent appraisals of young women, accounts of flirting, and feelings of “solemncholy” on parting. By all accounts Hawthorne was a handsome man. 

Eventually, success made change possible. The publication of Twice-Told Tales in 1837 was met with enthusiastic reviews, including one from Longfellow. “I have made a captive of myself and put me into a dungeon,” Hawthorne wrote to his college friend. “I have not lived.” But he hinted that interest in a woman would now be a “sharp spur to exertion.”

In fact he had already started maneuvering for the kind of job the Mannings no doubt always wished he had taken: a position in public administration. If he was to marry, he needed money.

From this point on, Hawthorne oscillated between periods of diligent public engagement and creative private withdrawal. Satisfaction with a successful book would allow him to put aside his writing and plunge into public life: working in the Boston customhouse, later in the Salem customhouse, and finally as American consul in Liverpool. Then either a change in political fortunes or anxiety that he was squandering his talent would have him retreating to an attic room to write. There were also repeated mood swings between melancholy and cheerfulness, something typical of the characters in his novels: the narrator of The Blithedale Romance alternates between “sickness of the spirits” and “flights of causeless buoyancy”; in The Marble Faun Miriam is “as unlike herself, in different moods, as if a melancholy maiden and a glad one were both bound within the girdle about her waist.”




Gloom might be induced by family demands, the weight of tradition, and an awareness of past evils, or conversely by a sense of one’s own inadequacies. Cheerfulness came with a positive engagement in the world or simply a sense of physical well-being. Hawthorne’s stories offer a constant back-and-forth between light and dark, town and wilderness, lonely individuals banished to the margins of society but also lavishly described crowd scenes (the bustling public holiday at the end of The Scarlet Letter, “the wild frolic of the carnival” in The Marble Faun). Looking down from his window on a political procession “with hundreds of flaunting banners, and drums, fifes, clarions, and cymbals,” the reclusive Clifford in The House of the Seven Gables (imprisoned for thirty years for a crime he didn’t commit) feels “a shivering repugnance at the idea of personal contact with the world” yet at the same time a mad impulse to throw himself down into “the surging stream of human sympathies.” Rather than offering cautionary tales or moral precepts of universal application, Hawthorne’s fiction invites us to enter his very particular world of feeling, where urgency and enigma come together around the conundrum initially posed by Goodman Brown: Is society good or evil? Do I get involved or do I withdraw?

Hawthorne’s choice of bride involved a typical swing from one extreme to another. Infatuated with the Salem socialite Mary Silsbee, he responded to her claim that a magazine editor had insulted her by challenging the man to a duel. On discovering that there had been no insult—he had been manipulated—he withdrew the challenge and shifted his attentions to Sophia Peabody, a woman almost as reclusive as himself, the sickly one of three sisters, apparently designated by her family to remain unmarried and at home, where she painted landscapes and kept a journal. When, after three years of intense correspondence, the two were to be married, Hawthorne couldn’t bring himself to tell his sisters and mother, as if the step were a betrayal. Eventually Sophia wrote to them; they responded coldly and did not attend the wedding. Hawthorne had found someone who got him away from his family and understood his need for long periods of seclusion. After they married, Sophia’s illnesses melted away; Elizabeth and Louisa stayed single.

Mellow regrets that Hawthorne draws so heavily on the gothic and always deploys allegory in stories where “the same characters appear and reappear,” bordering on “the stereotypical.” In particular The Scarlet Letter is “relentlessly allegorical.” Salwak enthuses about the “magic of allegory.” Turner takes at face value Hawthorne’s droll comment on his own work that “even in what purport to be pictures of actual life, we have allegory, not always so warmly dressed in its habiliments of flesh and blood, as to be taken into the reader’s mind without a shiver.” Wineapple notices how many of Hawthorne’s male characters are “repressed, insecure, cold, and self-deceived.”

Hawthorne began The Scarlet Letter in 1849. After marrying in 1842 he had moved to Concord and become a neighbor of Ralph Waldo Emerson and Herman Melville, but soon ran out of money. In 1846, now a father of two, after much maneuvering with friends in the Democratic Party, he moved back to Salem to take up the direction of the customhouse from which, after further shenanigans, he was dismissed in 1849. His account of his three years in the job serves as preface to the novel, allowing him to claim that he had found the story of the scarlet letter there and to offer hints as to how it should be read. The piece is hilarious, a wonderfully funny description of a backwater bureaucracy peopled with ghosts and has-beens. Hawthorne acknowledges that he is very much a child of this now-antiquated Salem community and declares himself ashamed of the Puritan severity of his forefathers, though he is also keen to tell us that his family was never “disgraced by a single unworthy member.” In a delicate act of positioning, he goes on to say that while “invariably happiest elsewhere,” he nevertheless feels an “unjoyous attachment” to Salem, an attachment that is a “doom”; it is the word he repeatedly uses to describe the predicament of his protagonists.

At the beginning of the novel, Hester Prynne emerges from a prison gate. She has lived in Boston for two years while waiting for her husband to arrive from Europe but now has given birth to a child. Therefore she is an adulterer, and hence first imprisoned then condemned to wear the letter A, in red, on her breast. But though “fully revealed before the crowd,” she nevertheless refuses to reveal the name of the guilty father, and it is this, even more than her initial sin, that rankles the Puritans. Hester is loyal to a sinner. She keeps a secret. The community does not control her mind nor that of an adulterous man living among them.

We soon know that the culprit is none other than the minister, Arthur Dimmesdale, but Hawthorne discourages us from imagining any romance between the two. There is no talk of physical longing or sensual pleasure. The sin is simply a fact, whose fruit, the impulsive child Pearl, is presented for the most part positively. If the minister lives in torment, it is not because his mind returns to the awfulness of what he has done but because the sin has altered his relationship with his parishioners and with Hester. Ambitious as a pastor and hence dependent on the community’s approval of his ministry, Dimmesdale would be destroyed by a confession; by not confessing, he is disloyal both to Hester and his parishioners. Hawthorne’s characters do not wrestle with their Maker or worry about the metaphysics of sin; they agonize over what is due to the community and what can be kept for themselves, or again how they can be ambitious without becoming exposed. When the minister meets Pearl, what she demands of him is not that he confess or be morally upright but that he “stand . . . with mother and me”—loyalty.

Traditional allegory offered a stable pattern of correspondences; readers could be in no doubt as to what was meant. The opposite is true with Hawthorne. As with the black veil, he rejoices in multiplying the meanings of the scarlet letter. It initially signifies adultery, but for those who later benefit from Hester’s charitable works, it comes to mean “Angel” and is likened to “the cross on a nun’s bosom.” Thanks to the extravagant needlework Hester lavishes on the letter, it functions as an advertisement for the skills she lives by, while at other moments it is an emblem of “moral solitude” or a “passport into regions where other women dared not tread”; for Pearl it is an “enigma” that “seemed an innate quality of her being.” In short, a symbol means what people take it to mean, though the meaning it has for the community will weigh heavy on the individual even if he or she sees things differently. Hester knows she could easily leave Puritan Boston to live among “a people whose customs and life were alien from the law that had condemned her.” But she also senses that this community is her doom: sin and ignominy “were the roots which she had struck into the soil.” Like Hawthorne, she is unjoyously attached.

On numerous occasions Salwak seeks to pin down the “confidential relation” Hawthorne establishes with his readers. Turner notes the author’s remark that his fiction would fail “unless the speaker stand in some true relation with his audience,” one that nevertheless allows him to “keep the inmost Me behind its veil.” To achieve this balancing act, Hawthorne developed a distinctive style in which words of high, often archaic register are deployed in elaborate syntax teeming with relative clauses but delivered in a friendly, self-deprecating speaking voice, one always ready to report the outlandish imaginings of the superstitious community yet at the same time firmly grounded in modern skepticism. Ideas are introduced and dismissed in a phrase or two, yet they remain as indicators of what people are inclined to believe or are even granted a certain psychological perspicacity. So we hear that “the vulgar” with their penchant for “grotesque horror” claimed that the scarlet letter was “red-hot with infernal fire, and could be seen glowing all alight, whenever Hester Prynne walked abroad in the night-time.” Absurd. Yet the letter “seared Hester’s bosom so deeply,” the narrator assures us, that there was perhaps more truth in this rumor than “our modern incredulity may be inclined to admit.” Readers are drawn into a reassuring complicity precisely as they are systematically disoriented. It is a style, as Wineapple puts it, of almost “voluptuous” insight and “exquisite ambiguity.”

Filled with references to the devil, Hawthorne’s fiction belies the adage that the devil has the best characters. Roger Chillingworth, Hester’s elderly physician husband, who arrives in Boston incognito and dedicates his life to tormenting the man who committed adultery with his wife, never convinces. What matters perhaps is his function of magnifying the pressure of the community on Dimmesdale. Negative figures in Hawthorne’s writing always align with public morality in hounding the individual who seeks to protect an inner self. Ruthless Judge Pyncheon in The House of the Seven Gables is “a man of eminent respectability” who engages Clifford’s neighbors “to have his deportment and habits constantly and carefully overlooked.” The philanthropist Hollingsworth in The Blithedale Romance deploys a rhetoric of piety to bludgeon others to his will. Both villains are at some point mistaken by their victims for the kind of grim Puritan who in times past held “inquest of life and death in a case of witchcraft.”

Following the success of The Scarlet Letter, in an extraordinary burst of creativity, Hawthorne wrote and published The House of the Seven Gables and The Blithedale Romance in just two years. It is precisely their charm that they reimagine the same conflicts being played out in quite different settings. To read all three novels in quick succession is to be astonished by the intensity and generosity of reflection that Hawthorne brought to bear on his subjects in long hours of attic solitude. Of Melville’s novel Mardi he remarked that it was “so good…one scarcely pardons the writer for not having brooded long over it, so as to make it a great deal better.”

Then came the swing back to public life. Barely was Blithedale finished than, to the consternation of his admirers, Hawthorne was writing the presidential campaign biography of his old friend Franklin Pierce. It was an act of loyalty that involved overcoming not a few scruples. He was rewarded with the consulship in Liverpool, at the time one of the busiest ports in the world. As always he threw himself into the job, determined to be worthy of the honor and the salary. Exploring “our old home,” as he called England, he discovered his strong patriotism and attachment to the US. The feeling became even stronger during two years in Italy, after the consulship terminated with the Pierce administration. Hawthorne could not see his way to love Rome, and despite all the energy he poured into the novel that he set there, The Marble Faun, it is disappointing. One feels throughout that some unifying element is missing; the conflicted relationship between character and community that drives his best work could hardly be developed with American characters in an Italian world they are never really part of.

If the task of literary biography is to establish convincing relations between life and work, all four of these fine books succeed and fail in different ways. Mellow offers fascinating excursions into historical and cultural setting but seems deaf to aspects of Hawthorne’s style. Turner is meticulous in cross-referencing life and work but sometimes misses drawing what seem obvious conclusions. He notes the author’s “loyalty to friends” (his account of his time in England, Our Old Home, was dedicated to the anti-abolitionist Pierce, to the dismay of Hawthorne’s readership) but does not see how this value is systematically used in his fiction to undermine all forms of dogmatism. Wineapple wonderfully evokes the author’s domestic life but wearies the reader with savvy psychologizing of a kind, one imagines, that Hawthorne would have deplored.

Detecting a “decline in interest,” Salwak sets out to “convince [his] audience that Hawthorne still matters.” But his enthusiasm tends toward hagiography, omitting anything that might be negatively construed, in particular Hawthorne’s staunch opposition to both abolitionism and the women’s movement. Perhaps if he had asked his students—a constant presence in the book—“Do you think there are still figures today whom we might mistake for those old Puritans of the witch trials, people who seek to control our inmost thoughts?,” then Hawthorne’s continuing relevance could have been rapidly established.

Returning to the US in 1860, Hawthorne was dismayed by the Civil War and the polarized rhetoric about it. The long essay “Chiefly About War Matters” was an attempt to establish a more nuanced position and remind the righteous North that Southern soldiers were fighting more out of loyalty to community and territory than for any evil principle. When his editor worried that some of the material might seem anti-Union, he agreed to cuts but introduced in italics imaginary expostulations of the same editor. “Can it be a son of old Massachusetts who utters this abominable sentiment?” he has him object with Puritan fervor. “For shame!”

Withdrawing once again into seclusion, Hawthorne tried to write what he expected would be his last novel. A man who has discovered the secret of eternal life finds himself increasingly alienated in a community of mortals. Fragments that survive show no decline in Hawthorne’s powers. But his health was now failing him. Perhaps hoping to revive his spirits, in May 1864 he set off with ex-president Pierce on a journey through New Hampshire, dying in a hotel room in Plymouth. Salwak feels he must have “left home to die in the dignity of solitude and to spare his wife the grief and shock associated with the loss of her husband.” I doubt that was what she would have wished, but Sophia had always respected her husband’s obsession with privacy: “To the last,” she wrote, “he was in a measure to me a divine mystery”—and added, “for he was so to himself.”




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Monday, November 18, 2024

Let's write about the Heritage Foundation and the Project 2025 manifesto too close to Nazi propaganda

As the world tries to settle in to the surreal resolve about dealing with another Donald Trump administration, this essay published in the New York Magazine Intelligencer section gives the perspective from a reporter who is trying to make sense out of this reality we are now faced with. Echo essay pubished by Sarah Jones: 


Project 2025’s Mastermind Is Obsessed With Contraception
At a book party, the Heritage Foundation’s Kevin Roberts avoided much of what he wrote.


Inside the lobby of New York City's Kimberly Hotel, there is a massive aquarium, and it glows a sickly blue. Whoever designed the tank had wanted it to look so much like an ocean they’d shot past the mark into eldritch territory. I was briefly transfixed, but I was on my way to the penthouse floor, some 30 stories up, where the man behind Project 2025 would be fêted a week after Donald Trump won reelection.

The occasion wasn’t a victory party, but rather a book launch for Dr. Kevin Roberts, the president of the Heritage Foundation. Roberts joined Heritage in 2021, as the conservative think tank waited out the Biden years and incubated what would become the infamous proposed blueprint for a second Trump administration. On Tuesday night, the crowd skewed young and white, dressed in business casual, and their mood was more relaxed than gleeful: A win for Trump is a win for Heritage, too. Still, the topic of Project 2025 remained so sensitive that Roberts and emcee Brian Kilmeade of Fox News spoke for 20 minutes without directly mentioning it once.

“Without any hubris on behalf of Heritage, we thought we have something to say about the American Dream,” Roberts told Kilmeade, adding that Americans “want to wake up in a normal country again.” A “uniparty” Establishment stands in the way, but it can be broken “by electing courageous men and women to office,” he said, before taking a detour to condemn China and its Communist government. “Of course we should impose tariffs on them,” he said. “Of course there will be economic repercussions on the United States, but a great leader or a great generation of leaders will be able to articulate to Americans that those trade-offs are worth it. Why? Because of self-governance.”


The interview didn’t go into much detail on Roberts’s book Dawn’s Early Light*, but in it he obsesses over abortion, fertility, and contraception. In one passage, he attacks a Washington, D.C., park that is part playground, part dog park. The playground is “caged-in,” he claims, “so that the canine ‘progeny’ of childless ‘dog parents’ can run about,” which in his view “perfectly sums up the antifamily culture shaping legislation, regulation, and enforcement throughout our sprawling government.” J.D. Vance wrote the foreword to the book, and Roberts shares the future vice-president-elect’s fixation on childlessness.

“​​It’s true that contraceptives give families more control over when they have children,” he writes. “But the creators of the technologies wanted to go much further than controlling a natural process; they wanted everyone in our culture, regardless of their beliefs or choices about contraceptives, to believe that having kids is an optional individual choice instead of a social expectation or a transcendent gift.”

Roberts doesn’t call outright for restrictions on “chemical contraceptives,” as he terms them, but his view is clear enough. Of IVF, he writes that while it “seems to assist fertility,” it “has the added effect of incentivizing women to delay trying to start a family, often leading to added problems when the time comes.” He goes on to claim that “infertility specialists say that increased commercial emphasis on IVF and other invasive (and profitable) treatments is creating a generation of doctors who actually don’t know how to perform older, noninvasive, but quite successful methods of restoring fertility.”

Later in the book, Roberts calls for universal school choice, which is about as unpopular as the abortion restrictions he supports

Trump may have won, but that doesn’t necessarily mean Heritage has a mandate to do as it pleases; most Americans support the Roe v. Wade standard for abortion rights and don’t want vouchers for private schools, many of which are religious. (Roberts founded a Catholic school in Louisiana.) Nevertheless, attendees were hopeful when I talked to them.

“Honestly, the conservative movement has been in the wilderness since Reagan, and I think this is part of the first time we’re having real conversations about the direction of the movement and who’s included,” said one grad student who gave only his first name, Peter. “I think Trump has given us an opportunity to think about what we do going forward.”

I asked him what he’d like to see from Trump once he takes office next year. “I think there will be reforms to the bureaucracy,” he said. The president could take one of two routes, he speculated, by either “skimming the bureaucracy down and trying to fire more civil servants” or getting “more partisans in and try to remake the bureaucracy.” He added, “I’m just excited to see what wins the day.” Nobody had mentioned Project 2025 at the event, so I asked him about that, too. Liberal attacks didn’t hit because the link to Trump was just too tenuous, he thought. “They made it sound like a conspiracy theory. Very silly,” he said.

Another partygoer, Jackson Paul, said that while he appreciated Roberts’s talk, he wasn’t convinced about tariffs. “How do we have tariffs help strengthen Americans, help strengthen the American economy, help the American worker, help the American working families while still countering the influence of these nations?” he asked. His drinking companion, a woman who would give her name only as Kylie, chimed in to say the book would be her Christmas gift to herself. “I would like to get to know more about the author,” she added. “He mentioned he had a very similar upbringing compared to J.D. Vance.”

Bethlehem Hadgu, a violist and the founder of a conservative chamber-music ensemble, was clutching a free copy of the Roberts book. She said she had great ambitions for Trump’s next term and listed them all: “I would say his revival of the nuclear family; the whole transgender ideology, for that to be disbarred; to drain the swamp of the bureaucracy of the government; to get as many people as fired as possible” that “are reducing the power of the executive” branch. She said she thought Trump would lower grocery prices and inflation and make “America as independent as possible,” an echo of Roberts’s earlier comments about tariffs. She was even more animated when she talked about the organization she founded. “We have the best musicians,” she explained. “Our whole organization is founded on tradition, beauty, truth, and goodness. And so it’s like a community of like-minded people and musicians and philanthropists and patrons, edifying conservative values through concerts.”

With that, I noticed that Roberts had left, and there was no reason to linger. Before Roberts spoke, the party had been polite, almost nerdy, but as drunkenness set in, and it had become almost impossible to hear anyone over the din. The alcohol had unleashed some pent-up energy and, with it, the malevolent truth of the night. On my way out of the hotel, I had to pass the aquarium again, still lit in that blue. One fish broke away from the pack and sped up toward the surface and the air, but there was no escape. 

*Nazi- "Dawn's Early Night", name is close to the title of the Nazi film The Blue Light (German: Das blaue Licht) a black-and-white 1932, film directed by Leni Riefenstahl and written by Béla Balázs with uncredited scripting by Carl Mayer. In Riefenstahl's film version, the witch, Junta, played by Riefenstahl, is intended to be a Nazi sympathetic character
https://en.wikipedia.org/wiki/The_Blue_Light_(1932_film)

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Friday, October 25, 2024

Le's Write about The Legend of Sleepy Hallow

Thanks to the Gutenberg Project for making this narrative avaiable.  I formatted the font into this blog. A terrificll horrifing and creative Halloween short story.

The Legend of Sleepy Hollow is an 1820 short story by American author Washington Irving (1783-1859), contained in his collection of 34 essays and short stories

 FOUND AMONG THE PAPERS OF THE LATE DIEDRICH KNICKERBOCKER.

        A pleasing land of drowsy head it was,

          Of dreams that wave before the half-shut eye;

        And of gay castles in the clouds that pass,

          Forever flushing round a summer sky.

                                         CASTLE OF INDOLENCE.

In the bosom of one of those spacious coves which indent the eastern shore of the Hudson, at that broad expansion of the river denominated by the ancient Dutch navigators the Tappan Zee, and where they always prudently shortened sail and implored the protection of St. Nicholas when they crossed, there lies a small market town or rural port, which by some is called Greensburgh, but which is more generally and properly known by the name of Tarry Town.

This name was given, we are told, in former days, by the good housewives of the adjacent country, from the inveterate propensity of their husbands to linger about the village tavern on market days.

Be that as it may, I do not vouch for the fact, but merely advert to it, for the sake of being precise and authentic. Not far from this village, perhaps about two miles, there is a little valley or rather lap of land among high hills, which is one of the quietest places in the whole world. A small brook glides through it, with just murmur enough to lull one to repose; and the occasional whistle of a quail or tapping of a woodpecker is almost the only soundthat ever breaks in upon the uniform tranquillity.

I recollect that, when a stripling, my first exploit in squirrel-shooting was in a grove of tall walnut-trees that shades one side of the valley. I had wandered into it at noontime, when all nature is peculiarly quiet, and was startled by the roar of my own gun, as it broke the Sabbath stillness around and was prolonged and reverberated by the angry echoes. If ever I should wish for a retreat whither I might steal from the world and its distractions, and dream quietly away the

remnant of a troubled life, I know of none more promising than this little valley.

From the listless repose of the place, and the peculiar character of its inhabitants, who are descendants from the original Dutch settlers, this sequestered glen has long been known by the name of SLEEPY HOLLOW, and its rustic lads are called the Sleepy Hollow Boys throughout all the neighboring country. A drowsy, dreamy influence seems to hang over the land, and to pervade the very atmosphere. Some say that the place was bewitched by a High German doctor, during the early days of the settlement; others, that an old Indian chief, the prophet or wizard of his tribe, held his powwows there before the country was discovered by Master Hendrick Hudson. Certain it is, the place still continues under the sway of some witching power, that holds a spell over the minds of the good people, causing them to walk in a continual reverie.

They are given to all kinds of marvellous beliefs, are subject to trances and visions, and frequently see strange sights, and hear music and voices in the air. The whole neighborhood abounds with local tales, haunted spots, and twilight superstitions; stars shoot and meteors glare oftener across the valley than in any other part of the country, and the nightmare, with her whole ninefold, seems to make it the favorite scene of her gambols.

The dominant spirit, however, that haunts this enchanted region, and seems to be commander-in-chief of all the powers of the air, is the apparition of a figure on horseback, without a head. It is said by some to be the ghost of a Hessian trooper, whose head had been carried away by a cannon-ball, in some nameless battle during the Revolutionary War, and who is ever and anon seen by the country folk hurrying along in the gloom of night, as if on the wings of the wind. His haunts are not confined to the valley, but extend at times to the adjacent roads, and especially to the vicinity of a church at no great distance. Indeed, certain of the most authentic historians of those parts, who have been careful in collecting and collating the floating facts concerning this spectre, allege that the body of the trooper having been buried in the churchyard, the ghost rides forth to the scene of battle in nightly quest of his head, and that the rushing speed with which he sometimes passes along the Hollow, like a midnight blast, is owing to his being belated, and in a hurry to get back to the churchyard before daybreak.

Such is the general purport of this legendary superstition, which has furnished materials for many a wild story in that region of shadows; and the spectre is known at all the country firesides, by the name of the Headless Horseman of Sleepy Hollow.

It is remarkable that the visionary propensity I have mentioned is not confined to the native inhabitants of the valley, but is unconsciously imbibed by every one who resides there for a time. However wide awake they may have been before they entered that sleepy region, they are sure, in a little time, to inhale the witching influence of the air, and begin to grow imaginative, to dream dreams, and see apparitions.

I mention this peaceful spot with all possible laud, for it is in such little retired Dutch valleys, found here and there embosomed in the great State of New York, that population, manners, and customs remain fixed, while the great torrent of migration and improvement, which is making such incessant changes in other parts of this restless country, sweeps by them unobserved. They are like those little nooks of still water, which border a rapid stream, where we may see the straw and bubble riding quietly at anchor, or slowly revolving in their mimic harbor, undisturbed by the rush of the passing current. Though many years have elapsed since I trod the drowsy shades of Sleepy Hollow, yet I question whether I should not still find the same trees and the same families vegetating in its sheltered bosom. In this by-place of nature there abode, in a remote period of American history, that is to say, some thirty years since, a worthy wight of the name of Ichabod Crane, who sojourned, or, as he expressed it, “tarried,”  in Sleepy Hollow, for the purpose of instructing the children of the vicinity.

He was a native of Connecticut, a State which supplies the Union with pioneers for the mind as well as for the forest, and sends forth yearly its legions of frontier woodmen and country schoolmasters. The cognomen of Crane was not inapplicable to his person. He was tall, but exceedingly lank, with narrow shoulders, long arms and legs, hands that dangled a mile out of his sleeves, feet that might have served for shovels, and his whole frame most loosely hung together. His head was small, and flat at top, with huge ears, large green glassy eyes, and along snipe nose, so that it looked like a weather-cock perched upon his spindle neck to tell which way the wind blew. To see him striding along the profile of a hill on a windy day, with his clothes bagging and fluttering about him, one might have mistaken him for the genius of famine descending upon the earth, or some scarecrow eloped from a cornfield.

His schoolhouse was a low building of one large room, rudely constructed of logs; the windows partly glazed, and partly patched with leaves of old copybooks. It was most ingeniously secured at vacant hours, by a withe twisted in the handle of the door, and stakes set against the window shutters; so that though a thief might get in with perfect ease, he would find some embarrassment in getting out,--an idea most probably borrowed by the architect, Yost Van Houten, from the mystery of an eelpot. The schoolhouse stood in a rather lonely but pleasant situation, just at the foot of a woody hill, with a brook running close by, and a formidable birch-tree growing at one end of it. From hence the low murmur of his pupils’ voices, conning over their lessons, might be heard in a drowsy summer’s day, like the hum of a beehive; interrupted now and then by the authoritative voice of the master, in the tone of menace or command, or, peradventure, by the appalling sound of the birch, as he urged some tardy loiterer along the flowery path of knowledge. Truth to say, he was a conscientious man, and ever bore in mind the golden maxim,

“Spare the rod and spoil the child.” Ichabod Crane’s scholars certainly were not spoiled.

I would not have it imagined, however, that he was one of those cruel potentates of the school who joy in the smart of their subjects; on the contrary, he administered justice with discrimination rather than severity; taking the burden off the backs of the weak, and laying it on those of the strong. Your mere puny stripling, that winced at the least flourish of the rod, was passed by with indulgence; but the claims of justice were satisfied by inflicting a double portion on some little tough wrong-headed, broad-skirted Dutch urchin, who sulked and swelled and grew dogged and sullen beneath the birch. All this,  he called “doing his duty by their parents;” and he never inflicted a chastisement without following it by the assurance, so consolatory to the smarting urchin, that “he would remember it and thank him for it the longest day he had to live.”

When school hours were over, he was even the companion and playmate of the larger boys; and on holiday afternoons would convoy some of the smaller ones home, who happened to have pretty sisters, or good housewives for mothers, noted for the comforts of the cupboard.

 Indeed, it behooved him to keep on good terms with his pupils. The revenue arising from his school was small, and would have been scarcely sufficient to furnish him with daily bread, for he was a huge feeder, and, though lank, had the dilating powers of an anaconda; but to help out his maintenance, he was, according to country custom in those parts, boarded and lodged at the houses of the farmers whose children he instructed. With these he lived successively a week at a time, thus going the rounds of the neighborhood, with all his worldly effects tied up in a cotton handkerchief.

That all this might not be too onerous on the purses of his rustic patrons, who are apt to consider the costs of schooling a grievous burden, and schoolmasters as mere drones, he had various ways of rendering himself both useful and agreeable. He assisted the farmers occasionally in the lighter labors of their farms, helped to make hay, mended the fences, took the horses to water, drove the cows from pasture, and cut wood for the winter fire. He laid aside, too, all the dominant dignity and absolute sway with which he lorded it in his little empire, the school, and became wonderfully gentle and ingratiating. He found favor in the eyes of the mothers by petting the children, particularly the youngest; and like the lion bold, which whilom so magnanimously the lamb did hold, he would sit with a child on one knee, and rock a cradle with his foot for whole hours together.

In addition to his other vocations, he was the singing-master of the neighborhood, and picked up many bright shillings by instructing the young folks in psalmody. It was a matter of no little vanity to him on Sundays, to take his station in front of the church gallery, with a band of chosen singers; where, in his own mind, he completely carried away the palm from the parson.

Certain it is, his voice resounded far above all the rest of the congregation; and there are peculiar quavers still to be heard in that church, and which may even be heard half a mile off, quite to the opposite side of the millpond, on a still Sunday morning, which are said to be legitimately descended from the nose of Ichabod Crane. Thus, by divers little makeshifts, in that ingenious way which is commonly denominated “by hook and by crook,” the worthy pedagogue got on tolerably enough, and was thought, by all who understood nothing of the labor of headwork, to have a wonderfully easy life of it.

The schoolmaster is generally a man of some importance in the female circle of a rural neighborhood; being considered a kind of idle, gentlemanlike personage, of vastly superior taste and accomplishments to the rough country swains, and, indeed, inferior in learning only to the parson. His appearance, therefore, is apt to occasion some little stir at the tea-table of a farmhouse, and the addition of a supernumerary dish of cakes or sweetmeats, or, peradventure, the parade of a silver teapot. Our man of letters, therefore, was peculiarly happy in the smiles of all the country damsels.

How he would figure among them in the churchyard, between services on Sundays; gathering grapes for them from the wild vines that overran the surrounding trees; reciting for their amusement all the epitaphs on the tombstones; or sauntering, with a whole bevy of them, along the banks of the adjacent millpond; while the more bashful country bumpkins hung sheepishly back, envying his superior elegance and address.

From his half-itinerant life, also, he was a kind of travelling gazette, carrying the whole budget of local gossip from house to house, so that his appearance was always greeted with satisfaction. He was, moreover, esteemed by the women as a man of great erudition, for he had read several books quite through, and was a perfect master of Cotton Mather’s “History of New England Witchcraft,” in which, by the way, he most firmly and potently believed.

He was, in fact, an odd mixture of small shrewdness and simple credulity. His appetite for the marvellous, and his powers of digesting it, were equally extraordinary; and both had been increased by his residence in this spell-bound region. No tale was too gross or monstrous for his capacious swallow. It was often his delight, after his school was dismissed in the afternoon, to stretch himself on the rich bed of clover bordering the little brook that whimpered by his schoolhouse, and there con over old Mather’s direful tales, until the gathering dusk of evening made the printed page a mere mist before his eyes. Then, as he wended his way by swamp and stream and awful woodland, to the farmhouse where he happened to be quartered, every sound of nature, at that witching hour, fluttered his excited imagination,--the moan of the whip-poor-will from the hillside, the boding cry of the tree toad, that harbinger of storm, the dreary hooting of the screech owl, or the sudden rustling in the thicket of birds frightened from their roost. The fireflies, too, which sparkled most vividly in the darkest places, now  and then startled him, as one of uncommon brightness would stream across his path; and if, by chance, a huge blockhead of a beetle came winging his blundering flight against him, the poor varlet was ready to give upthe ghost, with the idea that he was struck with a witch’s token. His only resource on such occasions, either to drown thought or drive away evil spirits, was to sing psalm tunes and the good people of Sleepy Hollow, as they sat by their doors of an evening, were often filled with awe at hearing his nasal melody, “in linked sweetness long drawn out,”  floating from the distant hill, or along the dusky road.

Another of his sources of fearful pleasure was to pass long winter evenings with the old Dutch wives, as they sat spinning by the fire, with a row of apples roasting and spluttering along the hearth, and listen to their marvellous tales of ghosts and goblins, and haunted fields, and haunted brooks, and haunted bridges, and haunted houses, and particularly of the headless horseman, or Galloping Hessian of the Hollow, as they sometimes called him. He would delight them equally by is anecdotes of witchcraft, and of the direful omens and portentous sights and sounds in the air, which prevailed in the earlier times of Connecticut; and would frighten them woefully with speculations upon comets and shooting stars; and with the alarming fact that the world did absolutely turn round, and that they were half the time topsy-turvy!

But if there was a pleasure in all this, while snugly cuddling in the chimney corner of a chamber that was all of a ruddy glow from the crackling wood fire, and where, of course, no spectre dared to show its face, it was dearly purchased by the terrors of his subsequent walk homewards.

What fearful shapes and shadows beset his path, amidst the dim and ghastly glare of a snowy night! With what wistful look did he eye every trembling ray of light streaming across the waste fields from some distant window! How often was he appalled by some shrub covered with snow, which, like a sheeted spectre, beset his very path! How often did he shrink with curdling awe at the sound of his own steps on the frosty crust beneath his feet; and dread to look over his shoulder, lest he should behold some uncouth being tramping close behind him! And howoften was he thrown into complete dismay by some rushing blast, howling among the trees, in the idea that it was the Galloping Hessian on one of his nightly scourings!

All these, however, were mere terrors of the night, phantoms of the mind that walk in darkness; and though he had seen many spectres in his time, and been more than once beset by Satan in divers shapes, in his lonely perambulations, yet daylight put an end to all these evils; and he would have passed a pleasant life of it, in despite of the Devil and all his works, if his path had not been crossed by a being that causes more perplexity to mortal man than ghosts, goblins, and the whole race of witches put together, and that was--a woman.

Among the musical disciples who assembled, one evening in each week, to receive his instructions in psalmody, was Katrina Van Tassel, the daughter and only child of a substantial Dutch farmer. She was a blooming lass of fresh eighteen; plump as a partridge; ripe and meltingand rosy-cheeked as one of her father’s peaches, and universally famed,not  merely for her beauty, but her vast expectations. She was withal a little of a coquette, as might be perceived even in her dress, which was a mixture of ancient and modern fashions, as most suited to set offher charms. She wore the ornaments of pure yellow gold, which her great-great-grandmother had brought over from Saardam; the tempting stomacher of the olden time, and withal a provokingly short petticoat, to display the prettiest foot and ankle in the country round.

Ichabod Crane had a soft and foolish heart towards the sex; and it is not to be wondered at that so tempting a morsel soon found favor in his eyes, more especially after he had visited her in her paternal mansion.

Old Baltus Van Tassel was a perfect picture of a thriving, contented, liberal-hearted farmer. He seldom, it is true, sent either his eyes or his thoughts beyond the boundaries of his own farm; but within those everything was snug, happy and well-conditioned. He was satisfied with his wealth, but not proud of it; and piqued himself upon the hearty abundance, rather than the style in which he lived. His stronghold was situated on the banks of the Hudson, in one of those green, sheltered, fertile nooks in which the Dutch farmers are so fond of nestling. A great elm tree spread its broad branches over it, at the foot of which bubbled up a spring of the softest and sweetest water, in a little well formed of a barrel; and then stole sparkling away through the grass, to a neighboring brook, that babbled along among alders and dwarf willows.

Hard by the farmhouse was a vast barn, that might have served for a church; every window and crevice of which seemed bursting forth with the treasures of the farm; the flail was busily resounding within it from morning to night; swallows and martins skimmed twittering about the eaves; and rows of pigeons, some with one eye turned up, as if watching the weather, some with their heads under their wings or buried in their bosoms, and others swelling, and cooing, and bowing about their dames, were enjoying the sunshine on the roof.

Sleek unwieldy porkers were grunting in the repose and abundance of their pens, from whence sallied forth, now and then, troops of sucking pigs, as if to snuff the air. A stately squadron of snowy geese were riding in an adjoining pond, convoying whole fleets of ducks; regiments of turkeys were gobbling through the farmyard, and Guinea fowls fretting about it, like ill-tempered housewives, with their peevish, discontented cry. Before the barn door strutted the gallant cock, that pattern of a husband, a warrior and a fine gentleman, clapping his burnished wings and rowing in the pride and gladness of his heart,--sometimes tearing up the earth with his feet, and then generously calling his ever-hungry family of wives and children to enjoy the rich morsel which he had discovered.

The pedagogue’s mouth watered as he looked upon this sumptuous promise of luxurious winter fare. In his devouring mind’s eye, he pictured to himself every roasting-pig running about with a pudding in his belly, and an apple in his mouth; the pigeons were snugly put to bed in a comfortable pie, and tucked in with a coverlet of crust; the geese were swimming in their own gravy; and the ducks pairing cosily in dishes, like snug married couples, with a decent competency of onion sauce. In the porkers he saw carved out the future sleek side of bacon, and juicy relishing ham; not a turkey but he beheld daintily trussed up, with its gizzard under its wing, and, peradventure, a necklace of savory sausages; and even bright chanticleer himself lay sprawling on his back, in a side dish, with uplifted claws, as if craving that quarter which his chivalrous spirit disdained to ask while living.

As the enraptured Ichabod fancied all this, and as he rolled his great green eyes over the fat meadow lands, the rich fields of wheat, of rye, of buckwheat, and Indian corn, and the orchards burdened with ruddy fruit, which surrounded the warm tenement of Van Tassel, his heart yearned after the damsel who was to inherit these domains, and his imagination expanded with the idea, how they might be readily turned into cash, and the money invested in immense tracts of wild land, and shingle palaces in the wilderness. Nay, his busy fancy already realized his hopes, and presented to him the blooming Katrina, with a whole family of children, mounted on the top of a wagon loaded with household trumpery, with pots and kettles dangling beneath; and he beheld himself bestriding a pacing mare, with a colt at her heels, setting out for Kentucky, Tennessee,--or the Lord knows where!

 

When he entered the house, the conquest of his heart was complete. It was one of those spacious farmhouses, with high-ridged but lowly sloping roofs, built in the style handed down from the first Dutch settlers; the low projecting eaves forming a piazza along the front, capable of being closed up in bad weather. Under this were hung flails, harness, various utensils of husbandry, and nets for fishing in the neighboring river. Benches were built along the sides for summer use; and a great spinning-wheel at one end, and a churn at the other, showed the various uses to which this important porch might be devoted. From this piazza the wondering Ichabod entered the hall, which formed the centre of the mansion, and the place of usual residence. Here rows of resplendent pewter, ranged on a long dresser, dazzled his eyes.

In one corner stood a huge bag of wool, ready to be spun; in another, a quantity of linsey-woolsey just from the loom; ears of Indian corn, and strings of dried apples and peaches, hung in gay festoons along the walls, mingled with the gaud of red peppers; and a door left ajar gave him a peep into the best parlor, where the claw-footed chairs and dark mahogany tables shone like mirrors; andirons, with their accompanying shovel and tongs, glistened from their covert of asparagus tops; mock-oranges and conch-shells decorated the mantelpiece; strings of various-colored birds eggs were suspended above it; a great ostrich egg was hung from the centre of the room, and a corner cupboard, knowingly left open, displayed immense treasures of old silver and well-mended china.

From the moment Ichabod laid his eyes upon these regions of delight, the peace of his mind was at an end, and his only study was how to gain the affections of the peerless daughter of Van Tassel. In this enterprise, however, he had more real difficulties than generally fell to the lot of a knight-errant of yore, who seldom had anything but giants, enchanters, fiery dragons, and such like easily conquered adversaries, to contend with and had to make his way merely through gates of iron and brass, and walls of adamant to the castle keep, where the lady of his heart as confined; all which he achieved as easily as a man would carve his way to the centre of a Christmas pie; and then the lady gave him her hand as a matter of course.

Ichabod, on the contrary, had to win his way to the heart of a country coquette, beset with a labyrinth of whims and caprices, which were forever presenting new difficulties and impediments; and he had to encounter a host of fearful adversaries of real flesh and blood, the numerous rustic admirers, who beset every portal to her heart, keeping a watchful and angry eye upon each other, but ready to fly out in the common cause against any new competitor.

Among these, the most formidable was a burly, roaring, roystering blade, of the name of Abraham, or, according to the Dutch abbreviation, Brom Van Brunt, the hero of the country round, which rang with his feats of strength and hardihood. He was broad-shouldered and double-jointed, with short curly black hair, and a bluff but not unpleasant countenance, having a mingled air of fun and arrogance. From his Herculean frame and great powers of limb he had received the nickname of BROM BONES, by which he was universally known. He was famed for great knowledge and skill in horsemanship, being as dexterous on horseback as a Tartar.

He was foremost at all races and cock fights; and, with the ascendancy which bodily strength always acquires in rustic life, was the umpire in all disputes, setting his hat on one side, and giving his decisions with an air and tone that admitted of no gainsay or appeal. He was alwaysready for either a fight or a frolic; but had more mischief than ill-will in his composition; and with all his overbearing roughness, there was a strong dash of waggish good humor at bottom. He had three or four boon companions, who regarded him as their model, and at the head of whom he scoured the country, attending every scene of feud or merriment for miles round. In cold weather he was distinguished by a fur cap, surmounted with a flaunting fox’s tail; and when the folks at a country gathering descried this well-known crest at a distance, whisking about among a squad of hard riders, they always stood by for a squall.

Sometimes, his crew would be heard dashing along past the farmhouses at midnight, with whoop and halloo, like a troop of Don Cossacks; and the old dames, startled out of their sleep, would listen for a moment till the hurry-scurry had clattered by, and then exclaim, “Ay, there goesBrom Bones and his gang!” The neighbors looked upon him with a mixture of awe, admiration, and good-will; and, when any madcap prank or rustic brawl occurred in the vicinity, always shook their heads, and warranted Brom Bones was at the bottom of it.

This rantipole hero had for some time singled out the blooming Katrina for the object of his uncouth gallantries, and though his amorous toyings were something like the gentle caresses and endearments of a bear, yet it was whispered that she did not altogether discourage his hopes. Certain it is, his advances were signals for rival candidates to retire, who felt no inclination to cross a lion in his amours; insomuch, that when his horse was seen tied to Van Tassel’s paling, on a Sunday night, a sure sign that his master was courting, or, as it is termed, “sparking,” within, all other suitors passed by in despair, and carried the war into other quarters.

Such was the formidable rival with whom Ichabod Crane had to contend, and, considering all things, a stouter man than he would have shrunk from the competition, and a wiser man would have despaired. He had, however, a happy mixture of pliability and perseverance in his nature; he was in form and spirit like a supple-jack--yielding, but tough; though he bent, he never broke; and though he bowed beneath the slightest pressure, yet, the moment it was away--jerk!--he was as erect, and carried his head as high as ever.

To have taken the field openly against his rival would have been madness; for he was not a man to be thwarted in his amours, any more than that stormy lover, Achilles. Ichabod, therefore, made his advances in a quiet and gently insinuating manner. Under cover of his character of singing-master, he made frequent visits at the farmhouse; not that he had anything to apprehend from the meddlesome interference of parents, which is so often a stumbling-block in the path of lovers. Balt Van Tassel was an easy indulgent soul; he loved his daughter better even than his pipe, and, like a reasonable man and an excellent father, let her have her way in everything.

His notable little wife, too, had enough to do to attend to her housekeeping and manage her poultry; for, as she sagely observed, ducks and geese are foolish things, and must be looked after, but girls can take care of themselves.

Thus, while the busy dame bustled about the house, or plied her spinning-wheel at one end of thepiazza, honest Balt would sit smoking his evening pipe at the other, watching the achievements of a little wooden warrior, who, armed with a sword in each hand, was most valiantly fighting the wind on the pinnacle of the barn.

In the mean time, Ichabod would carry on his suit with the daughter by the side of the spring under the great elm, or sauntering along in the twilight, that hour so favorable to the lover’s eloquence.

I profess not to know how women’s hearts are wooed and won. To me they have always been matters of riddle and admiration. Some seem to have but one vulnerable point, or door of access; while others have a thousand avenues, and may be captured in a thousand different ways.

It is a great triumph of skill to gain the former, but a still greater proof of generalship to maintain possession of the latter, for man must battle for his fortress at every door and window. He who wins a thousand common hearts is therefore entitled to some renown; but he who keeps undisputed sway over the heart of a coquette is indeed a hero.

Certain it is, this was not the case with the redoubtable Brom Bones; and from the moment Ichabod Crane made his advances, the interests of the former evidently declined: his horse was no longer seen tied to the palings on Sunday nights, and a deadly feud gradually arose between him and the preceptor of Sleepy Hollow.

Brom, who had a degree of rough chivalry in his nature, would fain have carried matters to open warfare and have settled their pretensions to the lady, according to the mode of those most concise and simple reasoners, the knights-errant of yore,--by single combat; but Ichabod was too conscious of the superior might of his adversary to enter the lists against him; he had overheard a boast of Bones, that he would “double the schoolmaster up, and lay him on a shelf of his own schoolhouse;” and he was too wary to give him an opportunity. There was something extremely provoking in this obstinately pacific system; it left Brom no alternative but to draw upon the funds of rustic waggery in his disposition, and to play off boorish practical jokes upon his rival.

Ichabod became the object of whimsical persecution to Bones and his gang of rough riders. They harried his hitherto peaceful domains; smoked out his singing school by stopping up the chimney; broke into the schoolhouse at night, in spite of its formidable fastenings of withe

and window stakes, and turned everything topsy-turvy, so that the poor schoolmaster began to think all the witches in the country held their meetings there. But what was still more annoying, Brom took all opportunities of turning him into ridicule in presence of his mistress, and had a scoundrel dog whom he taught to whine in the most ludicrous anner, and introduced as a rival of Ichabod’s, to instruct her in psalmody.

In this way matters went on for some time, without producing any material effect on the relative situations of the contending powers. On a fine autumnal afternoon, Ichabod, in pensive mood, sat enthroned on the lofty stool from whence he usually watched all the concerns of his little literary realm. In his hand he swayed a ferule, that sceptre of despotic power; the birch of justice reposed on three nails behind the throne, a constant terror to evil doers, while on the desk beforehim might be seen sundry contraband articles and prohibited weapons, detected upon the persons of idle urchins, such as half-munched apples, popguns, whirligigs, fly-cages, and whole legions of rampant little paper gamecocks. Apparently there had been some appalling act of justice recently inflicted, for his scholars were all busily intent upon their books, or slyly whispering behind them with one eye kept upon the master; and a kind of buzzing stillness reigned throughout the schoolroom. It was suddenly interrupted by the appearance of a negro  intow-cloth jacket and trowsers, a round-crowned fragment of a hat, like the cap of Mercury, and mounted on the back of a ragged, wild, half-broken colt, which he managed with a rope by way of halter. He came clattering up to the school door with an invitation to Ichabod to attend a merry-making or “quilting frolic,” to be held that evening at Mynheer Van Tassel’s; and having delivered his message with that air of importance, and effort at fine language, which a negro is apt to display on petty embassies of the kind, he dashed over the brook, and was seen scampering away up the hollow, full of the importance and hurry of his mission.

All was now bustle and hubbub in the late quiet schoolroom. The scholars were hurried through their lessons without stopping at trifles; those who were nimble skipped over half with impunity, and those who were tardy had a smart application now and then in the rear, to quicken their speed or help them over a tall word. Books were flung aside without being put away on the shelves, inkstands were overturned, benches thrown down, and the whole school was turned loose an hour before the usual time, bursting forth like a legion of young imps, yelping and racketing about the green in joy at their early emancipation.

The gallant Ichabod now spent at least an extra half hour at his toilet, brushing and furbishing up his best, and indeed only suit of rusty black, and arranging his locks by a bit of broken looking-glass that hung up in the schoolhouse. That he might make his appearance before his mistress in the true style of a cavalier, he borrowed a horse from the farmer with whom he was domiciliated, a choleric old Dutchman of the name of Hans Van Ripper, and, thus gallantly mounted, issued forth like a knight-errant in quest of adventures. But it is meet I should, in the true spirit of romantic story, give some account of the looks and equipments of my hero and his steed. The animal he bestrode was a broken-down plow-horse, that had outlived almost everything but its viciousness. He was gaunt and shagged, with a ewe neck, and a head like a hammer; his rusty mane and tail were tangled and knotted with burs; one eye had lost its pupil, and was glaring and spectral, but the other had the gleam of a genuine devil in it. Still he must have had fire and mettle in his day, if we may judge from the name he bore of Gunpowder.

He had, in fact, been a favorite steed of his master’s, the choleric Van Ripper, who was a furious rider, and had infused, very probably, some of his own spirit into the animal; for, old and broken-down as he looked, there was more of the lurking devil in him than in any young filly in the country.

Ichabod was a suitable figure for such a steed. He rode with short stirrups, which brought his knees nearly up to the pommel of the saddle; his sharp elbows stuck out like grasshoppers’; he carried his whip perpendicularly in his hand, like a sceptre, and as his horse jogged on, the motion of his arms was not unlike the flapping of a pair of wings. A small wool hat rested on the top of his nose, for so his scanty strip of forehead might be called, and the skirts of his black coat fluttered out almost to the horses tail. Such was the appearance of Ichabod and his steed as they shambled out of the gate of Hans Van Ripper, and it was altogether such an apparition as is seldom to be met with in broad daylight.

It was, as I have said, a fine autumnal day; the sky was clear and serene, and nature wore that rich and golden livery which we always associate with the idea of abundance. The forests had put on their sober brown and yellow, while some trees of the tenderer kind had been nipped by the frosts into brilliant dyes of orange, purple and scarlet.

Streaming files of wild ducks began to make their appearance high in the air; the bark of the squirrel might be heard from the groves of beech and hickory-nuts, and the pensive whistle of the quail at intervals from the neighboring stubble field.

The small birds were taking their farewell banquets. In the fullness of their revelry, they fluttered, chirping and frolicking from bush to bush, and tree to tree, capricious from the very profusion and variety around them. There was the honest cock robin, the favorite game of stripling sportsmen, with its loud querulous note; and the twittering blackbirds flying in sable clouds; and the golden-winged woodpecker with his crimson crest, his broad black gorget, and splendid plumage; and the cedar bird, with its red-tipt wings and yellow-tipt tail and its little monteiro cap of feathers; and the blue jay, that noisy coxcomb, in his gay light blue coat and white underclothes, screaming and chattering, nodding and bobbing and bowing, and pretending to be on good terms with every songster of the grove.

As Ichabod jogged slowly on his way, his eye, ever open to every symptom of culinary abundance, ranged with delight over the treasures of jolly autumn. On all sides he beheld vast   store of apples; some hanging in oppressive opulence on the trees; some gathered into baskets and barrels for the market; others heaped up in rich piles for the cider-press.

Farther on he beheld great fields of Indian corn, with its golden ears peeping from their leafy coverts, and holding out the promise of cakes and hasty-pudding; and the yellow pumpkins lying beneath them, turning up their fair round bellies to the sun, and giving ample prospects of the most luxurious of pies; and anon he passed the fragrant buckwheat fields breathing the odor of the beehive, and as he beheld them, soft anticipations stole over his mind of dainty slapjacks, well buttered, and garnished with honey or treacle, by the delicate little dimpled hand of Katrina Van Tassel.

Thus feeding his mind with many sweet thoughts and “sugared suppositions,” he journeyed along the sides of a range of hills which look out upon some of the goodliest scenes of the mighty Hudson. The sun gradually wheeled his broad disk down in the west. The wide bosom of the Tappan Zee lay motionless and glassy, excepting that here and there a gentle undulation waved and prolonged the blue shadow of the distant mountain. A few amber clouds floated in the sky, without a breath of air to move them. The horizon was of a fine golden tint, changing gradually into a pure apple green, and from that into the deep blue of the mid-heaven. A slanting ray lingered on the woody crests of the precipices that overhung some parts of the river, giving greater depth to the dark gray and purple of their rocky sides. A sloop was loitering in the distance, dropping slowly down with the tide, her sail hanging uselessly against the mast; and as the reflection of the sky gleamed along the still water, it seemed as if the vessel was suspended in the air.

It was toward evening that Ichabod arrived at the castle of the Heer Van Tassel, which he found thronged with the pride and flower of the adjacent country. Old farmers, a spare leathern-faced race, in homespun coats and breeches, blue stockings, huge shoes, and magnificent pewter buckles. Their brisk, withered little dames, in close-crimped caps, long-waisted short gowns, homespun petticoats, with scissors and pincushions, and gay calico pockets hanging on the outside. Buxom lasses, almost as antiquated as their mothers, excepting where a straw hat, a fine ribbon, or perhaps a white frock, gave symptoms of city innovation. The sons, in short square-skirted coats, with rows of stupendous brass buttons, and their hair generally queued in the fashion of the times, especially if they could procure an eel-skin for the purpose, it being esteemed throughout the country as a potent nourisher and strengthener of the hair.

Brom Bones, however, was the hero of the scene, having come to the gathering on his favorite steed Daredevil, a creature, like himself, full of mettle and mischief, and which no one but himself could manage.

He was, in fact, noted for preferring vicious animals, given to all kinds of tricks which kept the rider in constant risk of his neck, for he held a tractable, well-broken horse as unworthy of a lad of spirit.

Fain would I pause to dwell upon the world of charms that burst upon the enraptured gaze of my hero, as he entered the state parlor of Van Tassel’s mansion. Not those of the bevy of buxom lasses, with their luxurious display of red and white; but the ample charms of a genuine Dutch country tea-table, in the sumptuous time of autumn. Such heaped up platters of cakes of various and almost indescribable kinds, known only to experienced Dutch housewives! There was the doughty doughnut, the tender oly koek, and the crisp and crumbling cruller; sweet cakes andshort cakes, ginger cakes and honey cakes, and the whole family of cakes. And then there were apple pies, and peach pies, and pumpkin pies; besides slices of ham and smoked beef; and moreover delectable dishes of preserved plums, and peaches, and pears, and quinces; not to mention broiled shad and roasted chickens; together with bowls of milk and cream, all mingled higgledy-piggledy, pretty much as I have enumerated them, with the motherly teapot sending up its clouds of vapor from the midst--Heaven bless the mark! I want breath and time to discuss this banquet as it deserves, and am too eager to get on with my story.

Happily, Ichabod Crane was not in so great a hurry as his historian, but did ample justice to every dainty. he was a kind and thankful creature, whose heart dilated in proportion as his skin was filled with good cheer, and whose spirits rose with eating, as some men’s do with drink. He could not help, too, rolling his large eyes round him as he ate, and chuckling with the possibility that he might one day be lord of all this scene of almost unimaginable luxury and splendor.

Then, he thought, how soon he’d turn his back upon the old schoolhouse; snap his fingers in the face of Hans Van Ripper, and every other niggardly patron, and kick any itinerant pedagogue out of doors that should dare to call him comrade!

Old Baltus Van Tassel moved about among his guests with a face dilated with content and good humor, round and jolly as the harvest moon. His hospitable attentions were brief, but expressive, being confined to a shake of the hand, a slap on the shoulder, a loud laugh, and a pressing nvitation to “fall to, and help themselves.”

And now the sound of the music from the common room, or hall, summoned to the dance. The musician was an old gray-headed negro, who had been the itinerant orchestra of the neighborhood for more than half a century. His instrument was as old and battered as himself. The greater part of the time he scraped on two or three strings, accompanying every movement of the bow with a motion of the head; bowing almost to the ground, and stamping with his foot whenever a fresh couple were to start.

Ichabod prided himself upon his dancing as much as upon his vocal powers. Not a limb, not a fibre about him was idle; and to have seen his loosely hung frame in full motion, and clattering about the room, you would have thought St. Vitus himself, that blessed patron of the dance, was figuring before you in person. He was the admiration of all the negroes; who, having gathered, of all ages and sizes, from the farm and the neighborhood, stood forming a pyramid of shining black faces at every door and window, gazing with delight at the scene, rolling their white eyeballs, and showing grinning rows of ivory from ear to ear. How could the flogger of urchins be otherwise than animated and joyous? The lady of his heart was his partner in the dance, and smiling graciously in reply to all his amorous oglings; while Brom Bones, sorely smitten with love and jealousy, sat brooding by himself in one corner.

When the dance was at an end, Ichabod was attracted to a knot of the sager folks, who, with Old Van Tassel, sat smoking at one end of the piazza, gossiping over former times, and drawing out long stories about the war.

This neighborhood, at the time of which I am speaking, was one of those highly favored places which abound with chronicle and great men. The British and American line had run near it during the war; it had, therefore, been the scene of marauding and infested with refugees, cowboys, and all kinds of border chivalry. Just sufficient time had elapsed to enable each storyteller to dress up his tale with a little becoming fiction, and, in the indistinctness of his recollection, to make himself the hero of every exploit.

There was the story of Doffue Martling, a large blue-bearded Dutchman, who had nearly taken a British frigate with an old iron nine-pounder from a mud breastwork, only that his gun burst at the sixth discharge.

And there was an old gentleman who shall be nameless, being too rich a mynheer to be lightly mentioned, who, in the battle of White Plains, being an excellent master of defence, parried a musket-ball with a small sword, insomuch that he absolutely felt it whiz round the blade, and glance off at the hilt; in proof of which he was ready at any time to show the sword, with the hilt a little bent. There were several more that had been equally great in the field, not one of whom but was persuaded that he had a considerable hand in bringing the war to a happy termination.

But all these were nothing to the tales of ghosts and apparitions that succeeded. The neighborhood is rich in legendary treasures of the kind. Local tales and superstitions thrive best in these sheltered, long-settled retreats; but are trampled under foot by the shifting throng that forms the population of most of our country places. Besides, there is no encouragement for ghosts in most of our villages, for they have scarcely had time to finish their first nap and turn themselves in their graves, before their surviving friends have travelled away from the neighborhood; so that when they turn out at night to walk their rounds, they have no acquaintance left to call upon. This is perhaps the reason why we so seldom hear of ghosts except in our long-established Dutch communities.

The immediate cause, however, of the prevalence of supernatural stories in these parts, was doubtless owing to the vicinity of Sleepy Hollow.

There was a contagion in the very air that blew from that haunted region; it breathed forth an atmosphere of dreams and fancies infecting all the land. Several of the Sleepy Hollow people were present at Van Tassel’s, and, as usual, were doling out their wild and wonderful legends. Many dismal tales were told about funeral trains, and mourning cries and wailings heard and seen about the great tree where the unfortunate Major André was taken, and which stood in the neighborhood. Some mention was made also of the woman in white, that haunted the dark glen at Raven Rock, and was often heard to shriek on winter nights before a storm, having perished there in the snow. The chief part of the stories, however, turned upon the favorite spectre of Sleepy Hollow, the Headless Horseman, who had been heard several times of late, patrolling the country; and, it was said, tethered his horse nightly among the graves in the churchyard.

The sequestered situation of this church seems always to have made it a favorite haunt of troubled spirits. It stands on a knoll, surrounded by locust-trees and lofty elms, from among which its decent, whitewashed walls shine modestly forth, like Christian purity beaming through the shades of retirement. A gentle slope descends from it to a silver sheet of water, bordered by high trees, between which, peeps may be caught at the blue hills of the Hudson. To look upon its grass-grown yard, where the sunbeams seem to sleep so quietly, one would think that there atleast the dead might rest in peace. On one side of the church extends a wide woody dell, along which raves a large brook among broken rocks and trunks of fallen trees. Over a deep black part of the stream, not far from the church, was formerly thrown a wooden bridge; the road that led to it, and the bridge itself, were thickly shaded by overhanging trees, which cast a gloom about it, even in the daytime; but occasioned a fearful darkness at night. Such was one of the favorite haunts of the Headless Horseman, and the place where he was most frequently encountered. The tale was told of old Brouwer, a most heretical disbeliever in ghosts, how he met the Horseman returning from his foray into Sleepy Hollow, and was obliged to get up behind him; how they galloped over bush and brake, over hill and swamp, until they reached the bridge; when the Horseman suddenly turned into a skeleton, threw old Brouwer into the brook, and sprang away over the tree-tops with a clap of thunder. This story was immediately matched by a thrice marvellous adventure of Brom Bones, who made light of the Galloping Hessian as an arrant jockey. He affirmed that on returning one night from the neighboring village of Sing Sing, he had been overtaken by this midnight trooper; that he had offered to race with him for a bowl of punch, and should have won it too, for Daredevil beat the goblin horse all hollow, but just as they came to the church bridge, the Hessian bolted, and vanished in a flash of fire.

All these tales, told in that drowsy undertone with which men talk in the dark, the countenances of the listeners only now and then receiving a casual gleam from the glare of a pipe, sank deep in the mind of Ichabod. He repaid them in kind with large extracts from his invaluable author, Cotton Mather, and added many marvellous events that had taken place in his native State of Connecticut, and fearful sights which he had seen in his nightly walks about Sleepy Hollow.

The revel now gradually broke up. The old farmers gathered together their families in their wagons, and were heard for some time rattling along the hollow roads, and over the distant hills. Some of the damsels mounted on pillions behind their favorite swains, and their light-hearted laughter, mingling with the clatter of hoofs, echoed along the silent woodlands, sounding fainter and fainter, until they gradually died away,--and the late scene of noise and frolic was all silent and deserted. Ichabod only lingered behind, according to the custom of country lovers, to have a tête-à-tête with the heiress; fully convinced that he was now on the high road to success. What passed at this interview I will not pretend to say, for in fact I do not know.

Something, however, I fear me, must have gone wrong, for he certainly sallied forth, after no very great interval, with an air quite desolate and chapfallen. Oh, these women! these women! Could that girl have been playing off any of her coquettish tricks? Was her encouragement of the poor pedagogue all a mere sham to secure her conquest of his rival?

Heaven only knows, not I! Let it suffice to say, Ichabod stole forth with the air of one who had been sacking a hen roost, rather than a fair lady’s heart. Without looking to the right or left to notice the scene of rural wealth, on which he had so often gloated, he went straight to the stable, and with several hearty cuffs and kicks roused his steed most uncourteously from the comfortable quarters in which he was soundly sleeping, dreaming of mountains of corn and oats, and whole valleys of timothy and clover.

It was the very witching time of night that Ichabod, heavy-hearted and crestfallen, pursued his travels homewards, along the sides of the lofty hills which rise above Tarry Town, and which he had traversed so cheerily in the afternoon. The hour was as dismal as himself. Far below him the Tappan Zee spread its dusky and indistinct waste of waters, with here and there the tall mast of a sloop, riding quietly at anchor under the land. In the dead hush of midnight, he could even hear the barking of the watchdog from the opposite shore of the Hudson; but it was so vague and faint as only to give an idea of his distance from this faithful companion of man.

Now and then, too, the long-drawn crowing of a cock, accidentally awakened, would sound far, far off, from some farmhouse away among the hills--but it was like a dreaming sound in his ear. No signs of life occurred near him, but occasionally the melancholy chirp of a cricket, or perhaps the guttural twang of a bullfrog from a neighboring marsh, as if sleeping uncomfortably and turning suddenly in his bed.

All the stories of ghosts and goblins that he had heard in the afternoon now came crowding upon his recollection. The night grew darker and darker; the stars seemed to sink deeper in the sky, and driving clouds occasionally hid them from his sight. He had never felt so lonely and dismal. He was, moreover, approaching the very place where many of the scenes of the ghost stories had been laid. In the centre of the road stood an enormous tulip-tree, which towered like a giant above all the other trees of the neighborhood, and formed a kind of landmark. Its limbs were gnarled and fantastic, large enough to form trunks for ordinary trees, twisting down almost to the earth, and rising again into the air. It was connected with the tragical story of the unfortunate André, who had been taken prisoner hard by; and was universally known by the name of Major André’s tree. The common people regarded it with a mixture of respect and superstition, partly out of sympathy for the fate of its ill-starred namesake, and partly from the tales of strange sights, and doleful lamentations, told concerning it.

As Ichabod approached this fearful tree, he began to whistle; he thought his whistle was answered; it was but a blast sweeping sharply through the dry branches. As he approached a little nearer, he thought he saw something white, hanging in the midst of the tree: he paused and ceased whistling but, on looking more narrowly, perceived that it was a place where the tree had been scathed by lightning, and the white wood laid bare. Suddenly, he heard a groan--his teeth chattered, and his knees smote against the saddle: it was but the rubbing of one huge bough upon another, as they were swayed about by the breeze. He passed the tree in safety, but new perils lay before him.

About two hundred yards from the tree, a small brook crossed the road, and ran into a marshy and thickly-wooded glen, known by the name of Wiley’s Swamp. A few rough logs, laid side by side, served for a bridge over this stream. On that side of the road where the brook entered the wood, a group of oaks and chestnuts, matted thick with wild grape-vines, threw a cavernous gloom over it. To pass this bridge was the severest trial. It was at this identical spot that the unfortunate André was captured, and under the covert of those chestnuts and vines were the sturdy yeomen concealed who surprised him. This has ever since been considered a haunted stream, and fearful are the feelings of the schoolboy who has to pass it alone after dark.

As he approached the stream, his heart began to thump; he summoned up, however, all his resolution, gave his horse half a score of kicks in the ribs, and attempted to dash briskly across the bridge; but instead of starting forward, the perverse old animal made a lateral movement, and ran broadside against the fence. Ichabod, whose fears increased with the delay, jerked the reins on the other side, and kicked lustily with the contrary foot: it was all in vain; his steed started, it is true, but it was only to plunge to the opposite side of the road into a thicket of brambles and alder bushes. The schoolmaster now bestowed both whip and heel upon the starveling ribs of old Gunpowder, who dashed forward, snuffling and snorting, but came to a stand just by the bridge, with a suddenness that had nearly sent his rider sprawling over his head.

Just at this moment a plashy tramp by the side of the bridge caught the sensitive ear of Ichabod. In the dark shadow of the grove, on the margin of the brook, he beheld something huge, misshapen and towering. It stirred not, but seemed gathered up in the gloom, like some gigantic monster ready to spring upon the traveller.

The hair of the affrighted pedagogue rose upon his head with terror. What was to be done? To turn and fly was now too late; and besides, what chance was there of escaping ghost or goblin, if such it was, which could ride upon the wings of the wind? Summoning up, therefore, a show of courage, he demanded in stammering accents, “Who are you?”

 He received no reply. He repeated his demand in a still more agitated voice. Still there was no answer. Once more he cudgelled the sides of the inflexible Gunpowder, and, shutting his eyes, broke forth with involuntary fervor into a psalm tune. Just then the shadowy object of alarm put itself in motion, and with a scramble and a bound stood at once in the middle of the road. Though the night was dark and dismal, yet the form of the unknown might now in some degree be ascertained. He appeared to be a horseman of large dimensions, and mounted on a black horse of powerful frame. He made no offer of molestation or sociability, but kept aloof on one side of the road, jogging along on the blind side of old Gunpowder, who had now got over his fright and waywardness.

Ichabod, who had no relish for this strange midnight companion, and bethought himself of the adventure of Brom Bones with the Galloping Hessian, now quickened his steed in hopes of leaving him behind. The stranger, however, quickened his horse to an equal pace.

Ichabod pulled up, and fell into a walk, thinking to lag behind,--the other did the same.

His heart began to sink within him; he endeavored to resume his psalm tune, but his parched tongue clove to the roof of his mouth, and he could not utter a stave. There was something in the moody and dogged silence of this pertinacious companion that was mysterious and appalling. It was soon fearfully accounted for.

 On mounting a rising ground, which brought the figure of his fellow-traveller in relief against the sky, gigantic in height, and muffled in a cloak, Ichabod was horror-struck on perceiving that he was headless!--but his horror was still more increased on observing that the head, which should have rested on his shoulders, was carried before him on the pommel of his saddle! His terror rose to desperation; he rained a shower of kicks and blows upon Gunpowder, hoping by a sudden movement to give his companion the slip; but the spectre started full jump with him. Away, then, they dashed through thick and thin; stones flying and sparks flashing at every bound. Ichabod’s flimsy garments fluttered in the air, as he stretched his long lank body away over his horse’s head, in the eagerness of his flight.

They had now reached the road which turns off to Sleepy Hollow; but Gunpowder, who seemed possessed with a demon, instead of keeping up it, made an opposite turn, and plunged headlong downhill to the left. This road leads through a sandy hollow shaded by trees for about a quarter of a mile, where it crosses the bridge famous in goblin story; and just beyond swells the green knoll on which stands the whitewashed church.

As yet the panic of the steed had given his unskillful rider an apparent advantage in the chase, but just as he had got half way through the hollow, the girths of the saddle gave way, and he felt it slipping from under him. He seized it by the pommel, and endeavored to hold it firm, but in vain; and had just time to save himself by clasping old Gunpowder round the neck, when the saddle fell to the earth, and he heard it trampled under foot by his pursuer. For a moment the terror of Hans Van Ripper’s wrath passed across his mind,--for it was his Sunday saddle; but this was no time for petty fears; the goblin was hard on his haunches; and (unskilful rider that he was!) he had much ado to maintain his seat; sometimes slipping on one side, sometimes on another, and sometimes jolted on the high ridge of his horse’s backbone, with a violence that he verily feared would cleave him asunder.

An opening in the trees now cheered him with the hopes that the church bridge was at hand. The wavering reflection of a silver star in the bosom of the brook told him that he was not mistaken. He saw the walls of the church dimly glaring under the trees beyond. He recollected the place where Brom Bones’s ghostly competitor had disappeared. “If I can but reach that bridge,” thought Ichabod, “I am safe.” Just then he heard the black steed panting and blowing close behind him; he even fancied that he felt his hot breath. Another convulsive kick in the ribs, and old Gunpowder sprang upon the bridge; he thundered over the resounding planks; he gained the opposite side; and now Ichabod cast a look behind to see if his pursuer should vanish, according to rule, in a flash of fire and brimstone. Just then he saw the goblin rising in his stirrups, and in the very act of hurling his head at him. Ichabod endeavored to dodge the horrible missile, but too late. It encountered his cranium with a tremendous crash,--he was tumbled headlong into the dust, and Gunpowder, the black steed, and the goblin rider, passed by like a whirlwind.

The next morning the old horse was found without his saddle, and with the bridle under his feet, soberly cropping the grass at his master’s gate. Ichabod did not make his appearance at breakfast; dinner-hour came, but no Ichabod. The boys assembled at the schoolhouse, and strolled idly about the banks of the brook; but no schoolmaster. Hans Van Ripper now began to feel some uneasiness about the fate of poor Ichabod, and his saddle. An inquiry was set on foot, and after diligent investigation they came upon his traces. In one part of the road leading to the church was found the saddle trampled in the dirt; the tracks of horses’ hoofs deeply dented in the road, and evidently at furious speed, were traced to the bridge, beyond which, on the bank of a broad part of the brook, where the water ran deep and black, was found the hat of the unfortunate Ichabod, and close beside it a shattered pumpkin.

The brook was searched, but the body of the schoolmaster was not to be discovered. Hans Van Ripper as executor of his estate, examined the bundle which contained all his worldly effects. They consisted of two shirts and a half; two stocks for the neck; a pair or two of worsted stockings; an old pair of corduroy small-clothes; a rusty razor; a book of psalm tunes full of dog’s-ears; and a broken pitch-pipe. As to the books and furniture of the schoolhouse, they belonged to the community, excepting Cotton Mather’s “History of Witchcraft,” a “New England Almanac,” and a book of dreams and fortune-telling; in which last was a sheet of foolscap much scribbled and blotted in several fruitless attempts to make a copy of verses in honor of the heiress of Van Tassel. These magic books and the poetic scrawl were forthwith consigned to the flames by Hans Van Ripper; who, from that time forward, determined to send his children no more to school, observing that he never knew any good come of this same reading and writing. Whatever money the schoolmaster possessed, and he had received his quarter’s pay but a day or two before, he must have had about his person at the time of his disappearance.

The mysterious event caused much speculation at the church on the following Sunday. Knots of gazers and gossips were collected in the churchyard, at the bridge, and at the spot where the hat and pumpkin had been found. The stories of Brouwer, of Bones, and a whole budget of others were called to mind; and when they had diligently considered them all, and compared them with the symptoms of the present case, they shook their heads, and came to the conclusion that Ichabod had been carried off by the Galloping Hessian.

As he was a bachelor, and in nobody’s debt, nobody troubled his head any more about him; the school was removed to a different quarter of the hollow, and another pedagogue reigned in his stead.

It is true, an old farmer, who had been down to New York on a visit several years after, and from whom this account of the ghostly adventure was received, brought home the intelligence that Ichabod Crane was still alive; that he had left the neighborhood partly through fear of the goblin and Hans Van Ripper, and partly in mortification at having been suddenly dismissed by the heiress; that he had changed his quarters to a distant part of the country; had kept school and studied law at the same time; had been admitted to the bar; turned politician; electioneered; written for the newspapers; and finally had been made a justice of the Ten Pound Court. Brom Bones, too, who, shortly after his rival’s disappearance conducted the blooming Katrina in triumph to the altar, was observed to look exceedingly knowing whenever the story of Ichabod was related, and always burst into a hearty laugh at the mention of the pumpkin; which led some to suspect that he knew more about the matter than he chose to tell.

The old country wives, however, who are the best judges of these matters, maintain to this day that Ichabod was spirited away by supernatural means; and it is a favorite story often told about the neighborhood round the winter evening fire. The bridge became more than ever an object of superstitious awe; and that may be the reason why the road has been altered of late years, so as to approach the church by the border of the millpond. The schoolhouse being deserted soon fell todecay, and was reported to be haunted by the ghost of the unfortunate pedagogue and the plowboy, loitering homeward of a still summer evening, has often fancied his voice at a distance, chanting a melancholy psalm tune among the tranquil solitudes of Sleepy Hollow.

POSTSCRIPT. FOUND IN THE HANDWRITING OF MR. KNICKERBOCKER.

The preceding tale is given almost in the precise words in which I heard it related at a Corporation meeting at the ancient city of Manhattoes, at which were present many of its sagest and most illustrious burghers. The narrator was a pleasant, shabby, gentlemanly old fellow, in pepper-and-salt clothes, with a sadly humourous face, and one whom I strongly suspected of being poor--he made such efforts to be entertaining. When his story was concluded, there was much laughter and approbation, particularly from two or three deputy aldermen, who had been asleep the greater part of the time. There was, however, one tall, dry-looking old gentleman, with beetling eyebrows,who maintained a grave and rather severe face throughout, now and then folding his arms, inclining his head, and looking down upon the floor, as if turning a doubt over in his mind. He was one of your wary men, who never laugh but upon good grounds--when they have reason and law on their side. When the mirth of the rest of the company had subsided, and silence was restored, he leaned one arm on the elbow of his chair, and sticking the other akimbo, demanded, with a slight, but exceedingly sage motion of the head, and contraction of the brow, what was the moral of the story, and what it went to prove?

The story-teller, who was just putting a glass of wine to his lips, as a refreshment after his toils, paused for a moment, looked at his inquirer with an air of infinite deference, and, lowering the glass slowly to the table, observed that the story was intended most logically to prove--“That there is no situation in life but has its advantages and pleasures--provided we will but take a joke as we find it:

“That, therefore, he that runs races with goblin troopers is likely to have rough riding of it.

“Ergo, for a country schoolmaster to be refused the hand of a Dutch heiress is a certain step to high preferment in the state.”

The cautious old gentleman knit his brows tenfold closer after this explanation, being sorely puzzled by the ratiocination of the syllogism, while, me thought, the one in pepper-and-salt eyed him with something of a triumphant leer. At length he observed that all this was very well, but still he thought the story a little on the extravagant--there were one or two points on which he had his doubts.

“Faith, sir,” replied the story-teller, “as to that matter, I don’t believe one-half of it myself.”  D. K.  THE END

Washington Irving is considered to be the father of the American short story.


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