"Books are a uniquely portable magic." ~ Stephen King

Monday, August 25, 2014

Tips for the Quiz

Quiz #1 over Fiction will focus on the terms we've discussed and that are  listed on the blog, and will include the stories we have read  in combination with the terms. There will be NO multiple choice, matching, or true/false. The quiz will be designed to make you think. In order to do well, you must know the meaning of the terms, have read all the stories, and be able to think logically by answering TYPES of questions such as these.

Identification/explanation that also requires an example, as in:

Explain situational irony and give an example from one of our reading selections. Be sure to explain WHY it is ironic. 

Explain contextual symbolism and give an example from one of our reading selections. Be sure to explain its symbolic meaning in the context of the story.

Discussion which requires knowledge of terms applied to a story, as in:

Choose one of the three stories we read/viewed/discussed and explain how it illustrates the formulaic triangle. Note: this question does not require a paragraph in answer, only terms and explanation

Direct questions involving terms and based on the stories you've read, as in:

"Popular Mechanics" by Raymond Carver opens with the following sentence: "Early that day the weather turned and the snow was melting into dirty water."  In what way does this suggest the tone of the story?

Questions that require knowledge and understanding of the story, as in:

In what way is the title of "The Far and The Near" appropriate for the story? 

Although the two women in "The Far and The Near" are largely flat characters rather than round characters, why are they important to the story?

The man and woman in "Popular Mechanics" are largely revealed through indirect characterization. What specific actions of the two best reveal them to the reader? What opinion of them does the reader take away after the story is finished?

The two mothers who come to King Solomon certainly have a conflict with each other, and is easy to  classify as man versus man. What sort of conflict does Solomon face as ruler and judge? Explain.


Remember: Read carefully, take notes, study terms, and be able to put them altogether; in other words:

THINK!








Wednesday, August 20, 2014

Writing Response #1

"The Far and the Near" by Thomas Wolfe is not just a story about a nameless train 

engineer. It is a story about almost everyone, which makes it a story with a universal theme. 

How is it that most readers can understand and relate to the train engineer, regardless of 

their own profession? What is it that Wolfe is (really) writing about? What point is Wolfe 

making about life?

Monday, August 18, 2014

SYLLABUS


                                                                  English 1102-12 CRN: 82702, 3 credit hours
Fall 2014
WRC – Room 110
12:30 P.M. – 1:45 P.M., M/W
Instructor: Mrs. Sharon Aiken, H/SS, 248
Emails will be answered within 48 hours of receipt. If there is a situation requiring immediate attention, call 478-471-2893
Office Hours: M/W: 12:30-2:00 P.M., PSC, first floor
T/TH: 1:45-2:30 P.M., WRC
Office phone: 478-471-2893
Website: aikenenglish1102fall2014.blogspot.com
English 1102-33 CRN: 26535  Syllabus and Policy Statement:

Course Description/Purpose:
English 1102 is an introduction to literature that continues the writing principles studied in English
1101. ENGL 1102 introduces students to the three basic genres of literature—fiction, drama, and
poetry—their conventions, and associated literary terms, with some introduction to critical approaches.
ENGL 1102 students are asked to respond to literary works with essays that not only analyze themes,
but also analyze literary techniques.

Policy Statements

Required Prerequisite: A minimum grade of C is required in ENGL 1101 (or its equivalent) before a student may take English 1102.

30-Hour Rule: In accordance with Board of Regents policy, students must complete ENGL 1101 and ENGL 1102 before earning thirty hours of course credit.

Withdrawal Policy: Students may withdraw from the course and earn a grade of “W” up to and including the midterm date, Wednesday, October 15, 2014. After midterm, students who withdraw will receive a grade of “WF.” A WF is calculated in the GPA as an “F.” New MGSC policy limits the total number of withdrawal hours that students may accrue to 15 hours. 

Exit Requirements: All students must complete ENGL 1102 with a grade of A, B, or C to receive Area A credit and proceed to 2000-level English survey courses.

Regents Exemption: Students who complete both ENGL 1101 and ENGL 1102 with grades of A, B, or C have fulfilled the University System of Georgia Regents Reading and Writing Requirements.

MGSC Academic Misconduct Statement: As a Middle Georgia State College student and as a student in this class, you are responsible for reading, understanding, and abiding by the MGSC Student Code of Conduct. The Student Code of Conduct is included in the MGSC Student Handbook and is available online at http://www.mga.edu/student-affairs/docs/MGSC_Student_Handbook.pdf.  “The institutional penalty for academic misconduct is a grade of zero for the work involved.”

MGSC Policy on Disability Accommodations: Students seeking academic accommodations for a special need must contact the Middle Georgia State College Office of Disability Services in Macon at (478) 471-2985 or in Cochran at (478) 934-3023. Students may also visit the Disability Services Office in room 266 of the Student Life Center on the Macon campus or in Sanford Hall on the Cochran campus.

 “Technical Policy” (re: plagiarism detection): a plagiarism prevention service is used in evaluation of written work submitted for this course. As directed by the instructor, students are expected to submit or have their assignments submitted through the service in order to meet requirements for this course. The papers may be retained by the service for the sole purpose of checking for plagiarized content in future student submissions.

End of Course Evaluations: Student evaluations of faculty are administered online at the end of each term/session for all courses with five or more students. Students will receive an email containing a unique link to a survey for each course in which they are enrolled.  All responses are anonymous and completion of evaluations is voluntary.

The Writing Center: Individual writing assistance is available for any MGSC student in The Writing Center. Please visit any of our locations: Cochran Campus, Russell Hall 309; Dublin Campus, Dublin Building, Room 224; or Macon Campus, The Education Building 226.

A.     Student Learning Outcomes:

Upon successful completion of ENGL 1102, students will be able to:

  • demonstrate a collegiate competency to read critically and communicate ideas in well-developed written forms (MGSC General Education Learning Goal A1 [Communications]),
  • read and respond to various texts for purposes of interpretation, analysis, synthesis, evaluation, and judgment,
  • have a working knowledge of literary terms and understand the effect of narrative, dramatic, and poetic conventions upon meanings,
  • use recursive processes that include collecting information, focusing, ordering, drafting, revising, and editing,
  • demonstrate the techniques and skills of research, integration of source material, and documentation,
  • use conventions of writing mechanics, usage, and style to communicate effectively for the given audience, purpose, and format
    (guidelines recommended by the Board of Regents Advisory Committee on English). 

Definition of Plagiarism:
The following definition of plagiarism expands upon the Student Code’s description of plagiarism and has been adopted as standard by the English Department. For further explanation and illustrations, refer to the English Department’s “Plagiarism Definition,” available online at http://www.mga.edu/liberal-arts/english.
1. It is plagiarism to copy another’s words directly and present them as your own without quotation marks and direct indication of whose words you are copying.  All significant phrases, clauses, and passages copied from another source require quotation marks and proper acknowledgment, down to the page number(s) of printed texts.
2. It is plagiarism to paraphrase another writer’s work by altering some words but communicating the same essential point(s) made by the original author without proper acknowledgment.  Though quotation marks are not needed with paraphrasing, you must still acknowledge the original source directly.
3. Plagiarism includes presenting someone else’s ideas or factual discoveries as your own.  If you follow another person’s general outline or approach to a topic, presenting another’s original thinking or specific conclusions as your own, you must cite the source even if your work is in your own words entirely.  When you present another’s statistics, definitions, or statements of fact in your own work, you must also cite the source.
4. Plagiarism includes allowing someone else to prepare work that you present as your own.
5. Plagiarism applies in other media besides traditional written texts, including, but not limited to, oral presentations, graphs, charts, diagrams, artwork, video and audio compositions, and other electronic media such as web pages, PowerPoint presentations, and online discussion postings.

Required Texts: The Bedford Introduction to Literature,10th ed., Michael Meyer, Bedford/St. Martin’s.

Technology RequirementsThe following technical competencies are necessary and expected in this class: working knowledge of Microsoft Word; the use of a jump drive; internet use and willingness to learn more.

Attendance Policy, per MGSC:
“Students whose number of absences is more than twice the number of class meetings per week may be assigned a failing grade for the course at the discretion of the instructor.  Students  who  have more absences than the number of class meetings per week but less than twice the number of class meetings per week, may be penalized at the discretion of the instructor.  Students who have absences which are less than or equal to the number of class meetings per week will not be penalized.”
NOTE: If you have a medical condition and see that you will be missing a number of days, be prepared to present a doctor’s excuse to me. You must have written documentation. If a member of your immediate family has a health condition requiring your absence from class, remember:  that is still an absence.  English 1101 and 1102 have been known to cause sprains, eczema, stress, high blood pressure, hyperventilation, dandruff, seizures, stress, hospitalizations, broken bones, accidents, stress, and the plague. [Students and their families are most susceptible one to two days before a deadline. Do your work, plan ahead and protect yourself and your loved ones.]

Class Behavior Expectations and Consequences for Violation
“The primary expectations of all Middle Georgia State College students are integrity and civility. Each student should approach his/her academic endeavors, relationships and personal responsibilities with a strong
 commitment to personal integrity and interpersonal civility”. http://www.mga.edu/student-affairs/docs/MGSC_Student_Handbook.pdf#48.  (A full description of these responsibilities is found in the Student Handbook.)

“This class calls for you to use common courtesy in all interactions with your peers and the instructor. It requires students to listen to each other respectfully and without interruption.  You should approach the instructor in a professional manner, including in all of your email correspondence.

Any activity that disrupts classroom activities will result in the student(s) being asked to leave the classroom.  These disruptive activities include, but are not limited to,: using a cellphone/pager/smartphone, bringing children to class, talking during lectures, using a laptop for anything other than taking notes for this class, and making potentially offensive comments.  In addition, students who come in late or leave early disturb students and the instructor. The instructor reserves the right to deduct points at her/his discretion rom the course grade of any student who persistently participates in disruptive behavior. If the problem becomes chronic, the student(s) will be assigned a grade of “F” in the course and face other consequences determined by the institution’s administration.”

Class Policies:
1.       Please be on time. If you drive a distance to get here, plan accordingly. Being in class, ready to work says a great deal about your serious attention to this class and does not go unnoticed.
2.       Essays are to be typed. Writing on class computers is part of the class; there will be both in-class and out-of-class essays.  Title all essays and use correct MLA format {we will be going over this before an essay is due}.
3.       Papers are due on time. You may email a copy of the paper the day it is due, without penalty.  I will not accept papers after the due date.
4.       Students have the option of revising the first and second essays with the following stipulations:
a.       The original essay and grade sheet must be handed in with the revised essay
b.      If the only edits made to the paper are for grammar/mechanics/corrections  the grade will remain the same (the student has only copied and corrected)
c.       Substantive revisions could gain the student as much as one letter grade
d.      Revisions are due one week from the day the corrected essay is returned
5.       If you plan to print out of class essays in class, please attend to them within the first 10-15 min. of class.
6.       IF YOU USE ANY WORD PROCESSING PROGRAM OTHER THAN MS WORD, SAVE YOUR PAPER AS AN .rtf  (Rich Text Format) file or as a .pdf.  Your paper cannot be opened, cannot be read, cannot be printed otherwise. Not even the tech gurus in the Student Success Center can help.
7.       If you miss a daily assignment, you may NOT make it up; if you miss a major essay, your grade will result in a zero. You MUST complete all major assignments to pass the class.
8.       I give letter grades; if you have a question about a grade, drop by my office or make an appointment to see me after class; if you wish to challenge a grade, do so in writing, no sooner than a day after getting your paper back, and no later than three class days after the assignment is returned.
9.       The final exam in English 1101 is a two-hour essay over our final major reading assignment, typically a drama. Active Participation is expected from every student in class and is worth ten percent of your final grade. It begins but does not end with attendance.  Refer to http://aikenenglish1102fall2014.blogspot.com/  for more information.

10. Please be aware that failure IS an option.

1102 Course Requirements:

Assignment
Percent of Grade
Tentative Due Date
 The Week of:
Quiz #1: Fiction
10
08/25
Quiz # 2: Poetry
10
10/27
Quiz #3: Drama
10
11/10
Essay #1: FICTION
10
09/17
Essay #2:  RESEARCH
20
10/06
In class Essay #3: Poetry Explication
10
10/27
Essay #4: Drama
10
11/10
 FINAL EXAM
20
Thursday, Dec. 11, 3:30-5:30 p.m.

Grading Policy:

Grade
Average
Description
A
90-100
Excellent work
B
80-89
Good work
C
70-79
Satisfactory work
D
60-69
Passing work
F
<60
Failing work

The best way to develop your writing is to read, read, read. There are no shortcuts, no easy outs, and no simple solutions. Read everything, good and bad, exciting and mediocre, suspenseful and boring. You will gradually begin to develop a sense of identifying good writing that is coherent and clear, complete, as well as concise. Bad writing will show you what to avoid; good writing will show you what to emulate. This class does not meet every day, but if you truly want to succeed and develop, not only in this class, but in college and in life, it is in your best interest to read every day and, if at all possible, to write every day. Seek help when you need it. Find your voice and remain true to it; take pride in your work. Do your best, whether your best is a “C” or an “A.”

“Writing is easy; all you have to do is sit staring at a blank sheet of paper until the drops of blood form on your forehead.”    Gene Fowler

TENTATIVE SCHEDULE by the week:
Note: stories, poems, assignments should be completed BEFORE coming to class

08/18: Syllabus; introduction to the class blog; begin introduction to the elements of fiction and to the first stories: “The Far and the Near,” “Popular Mechanics,” and “Solomon and the Two Mothers.”

08/25:  QUIZ #1 this week over syllabus, literary terms, and stories

09/01: Labor Day Holiday; discussion of “A& P,” p. 201 and “That Room,” p. 222

09/08:  stories: “Job History,” p. 77 and “Romero’s Shirt,” p. 258; also for discussion: writing about literature

09/17: Essay # 1 – DUE – reading selections: “Young Goodman Brown” and “The Minister’s Black Veil”

09/22 and 09/29: writing the literary research paper

10/06: Essay #2 – DUE – introduction to the difference between literal and figurative language and an introduction to poetry, with a partial number of associated terms

10/13: continued discussion of poetry, with terms, examples, and selected poems: “The Raven,” for sound effects; “Richard Cory” for irony in poetry and focus on Emily Dickinson and Robert Frost

10/20: continued discussion of Dickinson and Frost

10/27: QUIZ #2 over poetry, terms and selections and the in-class essay over poetry [Essay #3]

11/03: introduction to Greek drama and study of  Oedipus

11/10: conclude discussion over the drama of Oedipus with QUIZ #3 and Essay #4

11/17: begin discussion of August Wilson’s Fences

11/24:  Thanksgiving Holidays

12/01: conclude discussion of Fences

12/09-12/13: Final Exams; please refer to the Academic Calendar for date and time: http://www.mga.edu/registrar/docs/Exam_Schedule_F




Sunday, August 17, 2014

Elements of Fiction and "The Far and the Near" by Thomas Wolfe

Elements of Fiction:

Note: if you need additional definitions for terms in fiction, poetry or drama, refer to the "Glossary of Literary Terms" that begins on page 1523 in your textbook
In analyzing fiction that you are assigned, refer to the questions at the end of the story AND your text, pages 48-49 "Questions for Responsive Reading and Writing" 

Two types of fiction:
  • Escape fiction - entertaining, perhaps not worth a second thought, such as Stephen King's Shining or Salem's Lot, both of which are well written and provide  hours of enjoyment, with little to reveal about "real" life; escape fiction takes the reader AWAY from reality
  • Interpretive fiction - takes the reader deeper into real life and often provokes contemplation after the story is finished; one example of interpretive fiction is Stephen King's Stand By Me, a nostalgic story of friendship and initiation, that revolves around a journey filled with obstacles and which tests the fortitude of each character

ALL fiction and drama that we read in English 1102 is interpretive; it is literature that is meant to be read, reflected upon and written about. 
* it should be obvious, but for our use, the word "man" is meant to suggest either gender or humanity as a whole

Plot - the series of events that happen in the story
  • the exposition-the introduction; often presents time, place and major characters- the first three paragraphs of "The Far and the Near" comprise its exposition:
  • rising action - "the plot thickens;" events happen; characters are added; conflict is established
  • climax - the moment of greatest drama in the story; the conflict comes to a head; a decision is made; after this point, there's "no turning back;"
  • falling action- more events, but these lead to a natural conclusion and seldom build complexity
  • denouement-how things end up--the conclusion
  • conflict
    • protagonist- the main figure of a story, whether good OR bad; a protagonist is NOT always heroic, not always "good," not always the brave cowboy in the white hat, riding the white horse; he could just as easily be a scruffy-faced character with adamantium [not a real metal] or a thief who turns his life around. {Thank you, Lone Ranger, Wolverine and Jean Val-Jean.]
    • antagonist - the forces arrayed against the protagonist, whether internal or external, tangible or intangible; as such the following conflicts may arise:
      • man vs. man
      • man vs. nature/environment 
      • man vs. society; 
      • man vs. fate; 
      • man vs. himself . . . According to William Faulkner, it is this last one that is most important: "the problems of the human heart in conflict with itself  . . . alone can make good writing because only that is worth writing about, worth the agony and the sweat"
Character - those figures that people the story; it is important for the reader to study a character, his actions, and his thoughts and to fully understand that even relatively insignificant words/actions may have meaning in the context of a story. 

  • round - to paraphrase Stephen King, even murderers and criminals can love animals and help old ladies cross the street
  • flat -  one dimensional characters who may still serve a valid purpose in the story
  • stereotypical - characters who have been seen so often, in so many similar contexts that he/she is often easily identifiable; in much modern writing and in films, these characters are often parodied [made fun of]
  • revealed by either: 
    • direct characterization- the author tells the reader exactly what a character is like 
    • indirect characterization - the author chooses to allow a character's actions or thoughts to reveal his personality or other characters who speak to or about a character
Theme - what the story reveals or suggests about life in a general sense; theme does not just relate to the people in the story, but to the reader and to most people, as well; theme is more complex than a single word, phrase, or cliche and should always be expressed as a statement/sentence; a story may have more than one theme; theme is revealed through plot and character; theme is often supported by point of view, symbolism or irony

Point of View - "who tells us the story and how it is told" (Meyers 195); the teller of a story is the narrator (see Meyer 1536), and the narrator my either be the author who is omniscient, who tells the story in 3rd person OR the a character in the story who tells the story in 1st person. Note the introductions to "A & P," p. 201 and "A Rose for Emily," p. 82

Setting - where AND when a story takes place, the importance of which depends on the context of the story; consider "To Build a Fire," 518

Symbolism - "a person, object, image, word, or event" that has meaning beyond its "literal significance" (Meyer 1545); note the two types listed by Meyer, p. 1545:
  • conventional symbols
  • literary or contextual symbols

Irony - see page 1535 of the glossary; important to remember is that irony often contains opposites or a contradiction; for example: 
  • verbal irony, a person means the opposite of what he/she says; we usually mean this to be sarcasm
  • situational irony, the outcome is the opposite of what one expects; consider the poem "Richard Cory" and the ending of "The Far and the Near;" in both cases, the appearance is different from reality and leads to an unpleasant surprise.

Richard Cory By Edwin Arlington Robinson


Whenever Richard Cory went down town,
We people on the pavement looked at him:
He was a gentleman from sole to crown,
Clean favored, and imperially slim.


And he was always quietly arrayed,
And he was always human when he talked;
But still he fluttered pulses when he said,
"Good-morning," and he glittered when he walked.


And he was richyes, richer than a king
And admirably schooled in every grace:
In fine, we thought that he was everything
To make us wish that we were in his place.


So on we worked, and waited for the light,
And went without the meat, and cursed the bread;
And Richard Cory, one calm summer night,
Went home and put a bullet through his head. 
NOTE:  Poetry often contains irony, just as prose does.
  • dramatic irony, there is a difference between what a character on stage, in the drama, believes to be true, and what the audience knows is true; for example, in the final scene of Shakespeare's Romeo and Juliet, the audience knows that Juliet is only sleeping when Romeo discovers her body in the tomb; unaware that she has taken a sleeping potion, Romeo believes she is dead and is so overcome with grief that he drinks poison, dies, and leaves Juliet to awaken immediately thereafter


The Far and the Near
by Thomas Wolfe

On the outskirts of a little town upon a rise of land that swept back from the railway there was a tidy little cottage of white boards, trimmed vividly with green blinds. To one side of the house there was a garden neatly patterned with plots of growing vegetables, and an arbor for the grapes which ripened late in August. Before the house there were three mighty oaks which sheltered it in their clean and massive shade in summer, and to the other side there was a border of gay flowers. The whole place had an air of tidiness, thrift, and modest comfort.

Every day, a few minutes after two o’clock in the afternoon, the limited express between two cities passed this spot. At that moment the great train, having halted for a breathing-space at the town near by, was beginning to lengthen evenly into its stroke, but it had not yet reached the full drive of its terrific speed. It swung into view deliberately, swept past with a powerful swaying motion of the engine, a low smooth rumble of his heavy cars upon pressed steel, and then it vanished in the cut. For a moment the progress of the engine could be marked by heavy bellowing puffs of smoke that burst at spaced intervals above the edges of the meadow grass, and finally nothing could be heard but the solid clacking tempo of the wheels receding into the drowsy stillness of the afternoon.

Every day for more than twenty years, as the train had approached this house, the engineer had blown on the whistle, and every day, as soon as she heard this signal, a woman had appeared on the back porch of the little house and waved to him. At first she had a small child clinging to her skirts, and now this child had grown to full womanhood, and every day she, too, came with her mother to the porch and waved.

The engineer had grown old and gray in service. He had driven his great train, loaded with its weight of lives, across the land ten thousand times. His own children had grown up, and married, and four times he had seen before him on the tracks the ghastly dot of tragedy converging like a cannon ball to its eclipse of horror at the boiler head—a light spring wagon filled with children, with its clustered row of small stunned faces; a cheap automobile stalled up the tracks, set with the wooden figures of people paralyzed with fear; a battered hobo walking by the rail, too deaf and old to hear the whistle’s warning; and a form flung past his window with a scream—all this he had seen and known. He had known all the grief, the joy, the peril and the labor such a man could know; he had grown seamed and weathered in his loyal service, and now, schooled by the qualities of faith and courage and humbleness that attended his labor, he had grown old, and had the grandeur and the wisdom these men have.

But no matter what peril or tragedy he had known, the vision of the little house and the women waving to him with a brave free motion of the arm had become fixed in the mind of the engineer as something beautiful and enduring, something beyond all change and ruin, and something that would always be the same, no matter what mishap, grief or error might break the iron schedule of his days.

The sight of this little house and these two women gave him the most extraordinary happiness he had ever known. He had seen them in a thousand lights, a hundred weathers. He had seen them through the harsh light of wintry gray across the brown and frosted stubble of the earth, and he had seen them again in the green luring sorcery of April.

He felt for them and for the little house in which they lived such tenderness as a man might feel for his own children, and at length the picture of their lives was carved so sharply in his heart that he felt that he knew their lives completely, to every hour and moment of the day, and he resolved that one day, when his years of service should be ended, he would go and find these people and speak at last with them whose lives had been so wrought into his own.

That day came. At last the engineer stepped from a train onto the station platform of the town where these two women lived. His years upon the rail had ended. He was a pensioned servant of his company, with no more work to do. The engineer walked slowly through the station and out into the streets of the town. Everything was as strange to him as if he had never seen this town before. As he walked on, his sense of bewilderment and confusion grew. Could this be the town he had passed ten thousand times? Were these the same houses he had seen so often from the high windows of his cab? It was all as unfamiliar, as disquieting as a city in a dream, and the perplexity of his spirit increased as he went on.

Presently the houses thinned into the straggling outposts of the town, and the street faded into a country road—the one on which the women lived. And the man plodded on slowly in the heat and dust. At length he stood before the house he sought. He knew at once that he had found the proper place. He saw the lordly oaks before the house, the flower beds, the garden and the arbor, and farther off, the glint of rails.

Yes, this was the house he sought, the place he had passed so many times, the destination he had longed for with such happiness. But now that he had found it, now that he was here, why did his hand falter on the gate; why had the town, the road, the earth, the very entrance to this place he loved turned unfamiliar as the landscape of some ugly dream? Why did he now feel this sense of confusion, doubt and hopelessness? At length he entered by the gate, walked slowly up the path and in a moment more had mounted three short steps that led up to the porch, and was knocking at the door. Presently he heard steps in the hall, the door was opened, and a woman stood facing him.

And instantly, with a sense of bitter loss and grief, he was sorry he had come. He knew at once that the woman who stood there looking at him with a mistrustful eye was the same woman who had waved to him so many thousand times. But her face was harsh and pinched and meager; the flesh sagged wearily in sallow folds, and the small eyes peered at him with timid suspicion and uneasy doubt. All the brave freedom, the warmth and the affection that he had read into her gesture, vanished in the moment that he saw her and heard her unfriendly tongue.

And now his own voice sounded unreal and ghastly to him as he tried to explain his presence, to tell her who he was and the reason he had come. But he faltered on, fighting stubbornly against the horror of regret, confusion, disbelief that surged up in his spirit, drowning all his former joy and making his act of hope and tenderness seem shameful to him.

At length the woman invited him almost unwillingly into the house, and called her daughter in a harsh shrill voice. Then, for a brief agony of time, the man sat in an ugly little parlor, and he tried to talk while the two women stared at him with a dull, bewildered hostility, a sullen, timorous restraint.

And finally, stammering a crude farewell, he departed. He walked away down the path and then along the road toward town, and suddenly he knew that he was an old man. His heart, which had been brave and confident when it looked along the familiar vista of the rails, was now sick with doubt and horror as it saw the strange and unsuspected visage of the earth which had always been within a stone’s throw of him, and which he had never seen or known. And he knew that all the magic of that bright lost way, the vista of that shining line, the imagined corner of that small good universe of hope’s desire, could never be got again.