The Professor’s House

The moving was over and done. Professor St. Peter was alone in the dismantled house where he had lived ever since his marriage, where he had worked out his career and brought up his two daughters. It was almost as ugly as it is possible for a house to be; square, three stories in height, painted the colour of ashes⁠—the front porch just too narrow for comfort, with a slanting floor and sagging steps. As he walked slowly about the empty, echoing rooms on that bright September morning, the Professor regarded thoughtfully the needless inconveniences he had put up with for so long; the stairs that were too steep, the halls that were too cramped, the awkward oak mantles with thick round posts crowned by bumptious wooden balls, over green-tiled fireplaces.

“My dear,” he sighed when the lights were turned on and they both looked older, “it’s been a mistake, our having a family and writing histories and getting middle-aged. We should have been picturesquely shipwrecked together when we were young.”

“How often I’ve thought that!” she replied with a faint, melancholy smile.

“You? But you’re so occupied with the future, you adapt yourself so readily,” he murmured in astonishment.

“One must go on living, Godfrey. But it wasn’t the children who came between us.” There was something lonely and forgiving in her voice, something that spoke of an old wound, healed and hardened and hopeless.

“You, you too?” he breathed in amazement. He took up one of her gloves and began drawing it out through his lingers. She said nothing, but he saw her lip quiver, and she turned away and began looking at the house through the glasses. He likewise began to examine the audience. He wished he knew just how it seemed to her. He had been mistaken, he felt. The heart of another is a dark forest, always, no matter how close it has been to one’s own. Presently the melting music of the tenor’s last aria brought their eyes together in a smile not altogether sad.

The thing that sidetracked me and made me so late coming to college was a somewhat unusual accident, or string of accidents. It began with a poker game, when I was a call boy in Pardee, New Mexico.

One cold, clear night in the fall I started out to hunt up a freight crew that was to go out soon after midnight. It was just after pay day, and one of the fellows had tipped me off that there would be a poker game going on in the cardroom behind the Ruby Light saloon. I knew most of my crew would be there, except Conductor Willis, who had a sick baby at home. The front windows were dark, of course. I went up the back alley, through a tumbledown ice house and a court, into a ’dobe room that didn’t open into the saloon proper at all. It was crowded, and hot and stuffy enough. There were six or seven in the game, and a crowd of fellows were standing about the walls, rubbing the whitewash off on to their coat shoulders. There was a birdcage hanging in one window, covered with an old flannel shirt, but the canary had wakened up and was singing away for dear life. He was a beautiful singer⁠—an old Mexican had trained him⁠—and he was one of the attractions of the place.

One afternoon I was out hunting turkeys. Just as the sun was getting low, I came through a sea of rabbit-brush, still yellow, and the horizontal rays of light, playing into it, brought out the contour of the ground with great distinctness. I noticed a number of straight mounds, like plough furrows, running from the river inland. It was too late to examine them. I cut a scrub willow and stuck a stake into one of the ridges, to mark it. The next day I took a spade down to the plantation of rabbit-brush and dug around in the sandy soil. I came upon an old irrigation main, unmistakable, lined with hard smooth cobbles and ’dobe cement, with sluices where the water had been let out into trenches. Along these ditches I turned up some pieces of pottery, all of it broken, and arrowheads, and a very neat, well-finished stone pickax.

That night I didn’t go back to the cabin, but took my specimens out to Blake, who was still north with the cattle. Of course, we both knew there had been Indians all over this country, but we felt sure that Indians hadn’t used stone tools for a long while back. There must have been a colony of pueblo Indians here in ancient times: fixed residents, like the Taos Indians and the Hopis, not wanderers like the Navajos.

It was such rough scrambling that I was soon in a warm sweat under my damp clothes. In stopping to take breath, I happened to glance up at the canyon wall. I wish I could tell you what I saw there, just as I saw it, on that first morning, through a veil of lightly falling snow. Far up above me, a thousand feet or so, set in a great cavern in the face of the cliff, I saw a little city of stone, asleep. It was as still as sculpture⁠—and something like that. It all hung together, seemed to have a kind of composition: pale little houses of stone nestling close to one another, perched on top of each other, with flat roofs, narrow windows, straight walls, and in the middle of the group, a round tower.

It was beautifully proportioned, that tower, swelling out to a larger girth a little above the base, then growing slender again. There was something symmetrical and powerful about the swell of the masonry. The tower was the fine thing that held all the jumble of houses together and made them mean something. It was red in colour, even on that grey day. In sunlight it was the colour of winter oak-leaves. A fringe of cedars grew along the edge of the cavern, like a garden. They were the only living things. Such silence and stillness and repose⁠—immortal repose. That village sat looking down into the canyon with the calmness of eternity. The falling snowflakes, sprinkling the piñons, gave it a special kind of solemnity. I can’t describe it. It was more like sculpture than anything else.