Kenny Part 14

"Every night," said Hughie. "The doctor gave up fightin' long ago."

Kenny went to his room filled with pity and disgust.

Gusts of wind and rain battered at the orchard blossoms the next day and the next. Kenny found a tuning outfit in a closet and spent his days with Joan tuning the Craig piano. He was grateful in the gloom of dark wood and dust for the fantastic thing of lavender she wore. It was like a bit of iris in a bog, he told her, and was sorry when he saw her glance with troubled eyes at the dust and cobwebs.

The river ran high and brown. The horn beneath the willow was silent.

Each night Adam Craig sent for his guest. The rain, he said, made him lonesome. Each night in a hopeless conflict of pity and dislike Kenny went, rain and wind and Adam Craig getting horribly upon his nerves.

He was glad when the sun came and filled the valley, panoramic from the farmhouse ridge, with a glory of light. Milk-white clouds capped the western hills. Nearer, dotted peacefully with farms, red barns and dark, straggling clumps of evergreen, the rolling valley stretched unevenly among intersecting lines of trees. At the foot of a hill rose the spire of the village church. To the south a crystal blaze of sun showed water.

A world of lilac and dogwood and a few late apple blossoms clinging bravely through the storm to suns.h.i.+ne. And the world held Joan with shadows of the sun in her hair and eyes and shadows of the past in her gowns.

Ah, truly, it was good to be alive!

CHAPTER VIII

JOAN

Thus, warm and fragrant, the summer came with Kenny in the house of Adam Craig, drifting pleasantly he knew and cared not where; with Brian on the road with Donald West.

And Joan? To her summer came with a new incomprehensible delight. Out of the void a bright spirit had roved into her world, sweeping her, eager and unresistant, into youth and life and laughter. He came from an immensity of romantic experience, holding out his hands to her, with tender eyes and a look of youth and charm and understanding in his vivid face.

She had fought through drab and solitude to dreams and formless craving, this girl of the hills. What things of vigor her life had known were cruel: a pa.s.sionate shrinking from her uncle, a fear for the brother who had hotly rebelled at the meager life around him, a loneliness aloof from her kind and a vague hunger for some fuller, sweeter life beyond the hills. And with a blast of a horn the drab had vanished.

There were times when the girl's soft eyes opened wide in a panic of incredulity. He was a famous painter, this Irishman who had prevailed upon her in a laughing moment to call him Kenny; a famous painter with a personality as vivid as his face. And yet he chose to linger at her uncle's farm. The color, the gayety, the sparkle, he seemed miraculously to infuse into existence, left her breathless and startled. And he knew not one spot and one land. He knew many spots, some wild and remote, and many lands. Joan marveled at the twist of Fate that had brought him to the willow.

His individuality made its own appeal. But there were subtler forces working to the girl's surrender. One, a deep abiding grat.i.tude to him and Brian. Though she ran down the lane each morning and peered into the letter box at the end for word of Donald, her disappointment now had nothing in it of terror. Donald, Kenny said, was with an O'Neill. He could not go wrong. She accepted the statement, as she had accepted the stage mother, with utter faith and gladness.

And Kenny was kind to her uncle and to her; kind with an infinite delicacy of tact and feeling. He seemed to understand the instinct for beauty and adornment that sent her roving to her mother's trunks. He understood her dreams and her hunger. He understood the spirit that had led her to make the garret a sort of shrine to be swept and dusted, to be kept apart and precious. There was another force, subtle and exacting: the girl's burgeoning womanhood. Wistful for homage, she craved his gallant tenderness and wanted always to be with him. His frank glance of admiration and his boyish smile were always a tribute. So was his voice, deep, gentle, sonorous as a sweet-toned bell. Tones of it she knew were kept for her alone. The knowledge thrilled her. She did not know why.

By the time the old wistaria vine outside her window shook in the wind with a glory of purple, the over-crowded days were gliding one into the other like a rain of stars. Most of all, wakeful in the dark of her room, she remembered the hours by the river when Kenny wove for her high, peaked hats of rushes such as he claimed the Irish fairies wore, and told her tales of Ireland with a trick of eloquence that made her laugh and made her cry. Odd! unlike her uncle he understood tears too. A tear, he said, was always trailing an Irishman's smile. His sympathetic brogue, smooth and soft and instinct with drollery, held for her a never-ending fascination.

And always at the end of the day there was Kenny's Gray Man of the Twilight stealing up the river all too soon.

Joan was not the only one to whom the sparkle of the irrepressible Irishman's wit and humor was an energizing boon. There was Hannah and Hetty; and Hughie, too, though he stoutly denied it. Life on the Craig farm was no longer dull.

Kenny, at a loose end, kept the farm in ferment, evading the work Garry had sent him, by a conscientious effort to a.s.sist others. He was glad he could paint if the mood seized him. Denied the opportunity he knew he would have fretted. There was one singular, inexplicable thing about work. If there was work at hand, one could always find something else to do, attractive and absorbing. If there wasn't work to do, the sheer shock of it seemed to dull you into mental vacuity and loose ends of time came up and hit you in the face. Garry had written something or other like that sarcastically in a letter.

He helped Hannah churn and sang with a soft brogue, to her abashed delight, a song he called "The Gurgling of the Churn." He helped Hetty milk the roan cow and sang while Hetty's apple-cheeks bloomed redder, an exquisite folk tune of a pretty girl who milked a cow in Ireland. Later in the summer he even helped Hughie rake the hay and had a song for that.

As Hannah said, he seemed to have songs for everything and what he couldn't sing he could play with dazzling skill on the old piano.

"There's 'lectricity," said Hannah, "in the very air."

"I wished," grumbled Hughie, "he'd put it in the ground instid. The air don't need it. Workin' a farm like this on shares is like goin' to a picnic behind old Nellie and startin' late. You just know you won't git there. What ground up here ain't worked out is hills and stones and hollers."

Hannah sighed.

Kenny knew with regret that he might have been a helpful factor in the work of the farm but for a number of unforeseen reasons. When he churned the b.u.t.ter never came. The roan cow disliked music and kicked over the milk-pail with inartistic persistence. The sun on the hay made his head ache.

As for a picturesque task for which he had no song--well, he had promised Joan to keep away from the punt when the horn beneath the willow blew for a ferryman. He had sculled the old white-haired minister into a rock with delight to no one but Adam Craig, who had spent a whole evening cackling about it. He must always remember that it had not been his fault. The rock had merely sc.r.a.ped the punt while he was listening with politeness to why the old man had "doubled up" his charge and had a church on either side of the river. And if Mr. Abbott had not risen in gentle alarm and begun to teeter around, Kenny in an interval of frantic excitement would not have been forced to fish him out of the stream by his coattails. He considered always that he saved the old man's life.

Nor had he meant to dab at him with the oar, thereby encouraging the unfortunate old chap to duck and misinterpret his obvious intention to save him.

But Joan had understood. That was the chief essential. Always Joan was there upon the horizon of his day. Whatever he thought, whatever he did, was colored by a pa.s.sionate desire for the girl's approval. Her pleasure became his delight; her smile his inspiration. In that, he told himself, pleased to interpret all things here in the sylvan heart of solitude in the terms of romance and mystery, he was like the chivalrous warrior of old who found his true happiness in gallantly serving a beautiful maid.

Joan was surely such a type as chivalry conceived. She filled his Celtic ideal and aroused all his gladness as a woman should. And she was as shy and beautiful as a wild flower and as unspoiled. He blessed the old gowns that quaintly framed her loveliness anew from day to day. But they had been his undoing. He felt that he might have kept his head a little longer but for the blaze of the gold brocade in the last light of the sun.

Laughter made her lovely. Ah, there Brian had been right. But then, he reflected sadly, Brian was always right. That, he could surely concede, when Fate had put an end to his quest and doomed him to linger here in the home of a miser, waiting, waiting, yes, waiting in impatience for word of his son. Well, perhaps he was not impatient, but at least he was waiting. And Brian had found in Joan's face the vigor of sweetness, not the kind that cloys. Kenny liked the words.

It was inevitable, with songs for everything, that he would have songs, like the tenderer tones of his voice, that he kept for Joan alone, songs that came softly to his lips when Nature stirred his fancy and Joan was at his side in an old-time gown.

A lone pine, a wild geranium, a lark or Joan's garden where the heliotrope grew; they were sparks to a fire of inspiration that came forth in song.

There was one song he sang most often.

"What is it, Kenny?" Joan asked one sunset when Kenny on the farm porch was finding the subtleties of color for her in the darkening valley below them and the western sky above the hills.

"What's what, Arbutus, dear?" he asked with guile.

The "dear" didn't bother her. It was frequently "Hannah, dear!" and "Hetty, dear!" and Hughie was often "Hughie, darlin'."

"Why," asked Joan, "do you call me Arbutus?"

"Because you're like one," he said gently.

"And what was the song?"

"'My Love's an Arbutus,'" said Kenny demurely. He knew at once that he must not step so far ahead again. She looked a little frightened. Kenny instantly called her attention to a gap in the range of hills to the west.

"Like the Devil's Bit in Ireland," he said. "There the devil, poor lad, bit a chunk out of a mountain and not liking the morsel over well, treated it as you and I would treat a cherry pit."

Joan laughed.

"True." said Kenny, "every word of it. I myself have seen the chunk he threw away. Tis the Rock of Cashel. He's been bitin' again over there, I take it. To-morrow you and I will go down into the valley, seek the unappetizin' rock he rejected and look it over."

"I think most likely," said Joan, "the farm's built on it."

And then the sound of the horn came over the water and Joan ran.

Kenny as usual cursed the horn.

With the valley filled with the first haze of twilight and the hills still aglow, Kenny sat on the farm porch and brooded. He had not meant to frighten her. The Arbutus gallantry he had considered strategic and poetic. There was the baffling thing about her that kept him piqued.

She was always shy and elusive. Of convention she knew nothing at all; yet like the shrine in the garret she kept herself apart and precious.

Always she seemed fluttering just ahead of him, like a will-of-the-wisp.

If he touched her hand ever so gently she drew it away. The caresses most girls he had known would have understood and accepted as part of the summer idyl, he knew, instinctively, would be evaded.

Ah! the truth of it was she was an incomprehensible torment of delight.