Then I send Anse and the boy out.
She watches the boy as he leaves the room.
She has not moved save her eyes.
He and Anse are on the porch when I come out, the boy sitting on the steps, Anse standing by a post, not even leaning against it, his arms dangling, the hair pushed and matted up on his head like a dipped rooster.
He turns his head, blinking at me.
"Why didn't you send for me sooner?" I say.
"Hit was jest one thing and then another," he says.
'That ere corn me and the boys was aimin to git up with, and Dewey Dell a-takin good keer of her, and folks comin in, a-offerin to help and sich, till I jest thought . . ."
"Damn the money," I say.
"Did you ever hear of me worrying a fellow before he was ready to pay?"
"Hit aint begrudgin the money," he says.
"I jest kept a-thinkin . . .
She's goin, is she?"
The durn little tyke is sitting on the top step, looking smaller than ever in the sulphur-colored light.
That's the one trouble with this country: everything, weather, all, hangs on too long.
Like our rivers, our land: opaque, slow, violent; shaping and creating the Me of man in its implacable and brooding image.
"I knowed hit," Anse says.
"All the while I made sho.
Her mind is sot on hit."
"And a damn good thing, too," I say.
"With a trifling—" He sits on the top step, small, motionless in faded overalls.
When I came out he looked up at me, then at Anse.
But now he has stopped looking at us.
He just sits there.
"Have you told her yit?" Anse says.
"What for?" I say.
"What the devil for?"
"Shell know hit.
I knowed that when she see you she would know hit, same as writing.
You wouldn't need to tell her.
Her mind—"
Behind us the girl says,
"Paw."
I look at her, at her face.
"You better go quick," I say.
When we enter the room she is watching the door.
She looks at me.
Her eyes look like lamps blaring up just before the oil is gone.
"She wants you to go out," the girl says.
"Now, Addie," Anse says, "when he come all the way from Jefferson to git you well?"
She watches me: I can feel her eyes.
It's like she was shoving at me with them.
I have seen it before in women.
Seen them drive from the room them coming with sympathy and pity, with actual help, and clinging to some trifling animal to whom they never were more than pack-horses.
That's what they mean by the love that passeth understanding: that pride, that furious desire to hide that abject nakedness which we bring here with us, carry with us into operating rooms, carry stubbornly and furiously with us into the earth again.
I leave the room.
Beyond the porch Cash's saw snores steadily into the board.
A minute later she calls his name, her voice harsh and strong.
"Cash," she says; "you, Cash!"
Darl