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Teacher Wraparound Edition
TEACHER EDITION
Program Consultants
Jeffrey D. Wilhelm, Ph.D.
Douglas Fisher, Ph.D.
Beverly Ann Chin, Ph.D.
Jacqueline Jones Royster, DA
 Acknowledgments
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Acknowledgments continued on p. R98.

Image Credits:
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T2

Senior Program Consultants
Jeffrey D. Wilhelm, PhD, a former middle
and secondary school English and reading teacher,
is currently Professor of Education at Boise State
University. He is the author or coauthor of numer-
ous articles and several books on the teaching of
reading and literacy, including award-winning titles
such as You Gotta BE the Book and Reading Don’t
Fix No Chevys. He also works with local schools as
part of the Adolescent Literacy Project and recently
helped establish the National Writing Project site at
Boise State University.
Program Consultants
Beverly Ann Chin, PhD, is Professor of
English, Director of the English Teaching Program,
former Director of the Montana Writing Project, and
former Director of Composition at the University
of Montana in Missoula. She currently serves as
a Member at Large of the Conference of English
Leadership. Dr. Chin is a nationally recognized
leader in English language arts standards, cur-
riculum, and assessment. Formerly a high school
teacher and an adult education reading teacher, Dr.
Chin has taught in English language arts education
at several universities and has received awards for
her teaching and service.
Consultants
Douglas Fisher, PhD, is Professor of
Language and Literacy Education and Director
of Professional Development at San Diego State
University, where he teaches English language
development and literacy. He also serves as Director
of City Heights Educational Pilot, which won
the Christa McAuliffe Award from the American
Association of State Colleges and Universities. He
has published numerous articles on reading and
literacy, differentiated instruction, and curricu-
lum design. He is coauthor of the book Improving
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tor of the book Inclusive Urban Schools.
Jacqueline Jones Royster, DA, is Professor
of English and Senior Vice Provost and Executive
Dean of the Colleges of Arts and Sciences at The
Ohio State University. She is currently on the
Writing Advisory Committee of the National
Commission on Writing and serves as chair for both
the Columbus Literacy Council and the Ohioana
Library Association. In addition to the teaching of
writing, Dr. Royster’s professional interests include
the rhetorical history of African American women
and the social and cultural implications of literate
practices. She has contributed to and helped to edit
numerous books, anthologies, and journals.
T3
 Advisory Board
Special Consultants
Donald R. Bear, PhD
Professor, Department of
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Director, E. L. Cord Foundation
Center for Learning and Literacy
at the University of Nevada,
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Way and Words Their Way with
English Learners
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Department of Teaching
and Learning
Research Assistant Professor,
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and Learning
University of Miami
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Associate Dean for Academic
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Professor of Exceptional
Education
School of Education
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Milwaukee
Milwaukee, Wisconsin
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Professor of Literacy
Graduate School of Education
College of Education and
Human Development
George Mason University
Fairfax, Virginia
T4
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Psychology, California State
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Author of Making Content
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LaPointe Educational Consultants
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East Lansing, Michigan
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San Marcos, Texas
Nancy Frey, PhD
Associate Professor of Literacy
in Teacher Education
School of Teacher Education
San Diego State University
San Diego, California
Victoria Ridgeway Gillis,
PhD
Associate Professor
Reading Education
Clemson University
Clemson, South Carolina
Dinah Zike, MEd,
was a classroom teacher and
a consultant for many years
before she began to develop
Foldables™—a variety of easily
created graphic organizers. Zike
has written and developed more
than 150 supplemental books
and materials used in classrooms
worldwide. Her Big Book of Books
and Activities won the Teachers’
Choice Award.
Kimberly Lawless, PhD
Associate Professor
Curriculum, Instruction
and Evaluation
College of Education
University of Illinois
at Chicago
Chicago, Illinois
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Lincoln-Sudbury Regional
High School
Sudbury, Massachusetts
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MEd
English Language Arts Specialist
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Independent Reading Consultant
CRISS Master Trainer
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 Teacher Reviewers
The following teachers contributed to the review of Glencoe Literature.
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T5
 T E AC H E R E D I T I O N OV E R V I E W

Table of Contents for the Student Edition

and Teacher Edition .......................................................... ......... T10
How to Use Glencoe Literature ................................................... T35

Course 5 Scope and Sequence ................................................. T40

Essential Course of Study ................................................ ......... T44

Teacher Edition Walk-Through ..................................... ......... T48

Guide to Readability ......................................................... ......... T56

T6
African American Vernacular English .................................. T57

Language Transfers . . . . . . . . . . . . . . . . . . . . ................................................. T60

Classroom Resources
Print Resources . . . . . . . . . . . . . . . . . . . . . . . . . ................................................. T72
Technology Resources . . . . . . . . . . . . . . . . ................................................. T75
Library Resources . . . . . . . . . . . . . . . . . . . . . . ................................................. T79

T7
 Book Overview
How to Use Glencoe Literature ............................................................... T35
Cyber Safety . . . . . . . . . . . . .............................................................................. T39

U N IT ON E The Short Story ............................................................................. 1

Part 1: Encountering the Unexpected . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 7
Part 2: Making Choices . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 85
Part 3: Life Transitions . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 183

U N IT T WO Nonfiction . . . . . ............................................................................... 277

Part 1: The Power of Memory . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 283
Part 2: Quests and Encounters . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 365
Part 3: Keeping Freedom Alive . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 391

U N IT TH R EE Poetry . . . . . . . . . . . . . . ............................................................................... 467

Part 1: The Energy of the Everyday . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 473
Part 2: Loves and Losses . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 531
Part 3: Issues of Identity . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 591

U N IT FOU R Drama . . . . . . . . . . . . . ............................................................................... 651

Part 1: Loyalty and Betrayal . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 657
Part 2: Portraits of Real Life . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 817

Coming to America,
1985.
Malcah Zeldis.

T8
 Book Overview

Triumph of the
Revolution, Distribution
of Food (Trionfo de la
revolucion, reparto de los
alimentos), 1926–1927.
Diego Rivera. Banco de
Mexico Trust. Fresco,
3.54 x 3.67 m. Chapel.
Universidad Autonoma,
Chapingo, Mexico.

U N IT F I V E Legends and Myths .................................................. ................ 893

Part 1: Acts of Courage ....................................................... ................ 899
Part 2: Rescuing and Conquering ........................................................ 955

U N IT SI X Genre Fiction............................................................... .............. 1015

The Extraordinary and Fantastic ......................................................... 1021

U N IT SEVEN Consumer and Workplace Documents ........................... 1137

Reference Section
Literary Terms Handbook ......................................................... ................. R1
Foldables® ........................................................................................... R20
Functional Documents ............................................................................ R22
Writing Handbook ................................................................... ............... R28
Reading Handbook ................................................................................ R38
Language Handbook ............................................................... ............... R40
Logic and Persuasion Handbook ............................................................... R60
Glossary/Glosario ................................................................... ............... R64
Academic Word List ............................................................................... R80
Index of Skills ....................................................................................... R83
Index of Authors and Titles ...................................................................... R95
Acknowledgments ................................................................................. R98

T9
 Contents
Skills and Standards

U N IT O N E
The Short Story
Genre Focus: Short Story ............................................................ 2
Literary Analysis Model
ER N E S T H E M I N G WAY
Old Man at the Bridge ............................. Short Story ........ 4
Wrap-Up ....................................................................................... 6

Part One Encountering the Unexpected ........................................... 7

Literary Focus Plot and Setting ....................................................... 8
Flashback, SAKI The Open Window ......................... Short Story ...... 10
Identify Sequence
Foreshadowing, Analyze MARK T WAIN The Californian’s Tale ... Short Story ...... 17
Cause-and-Effect
Relationships Literary Perspective
J OYC E C A RO L OAT E S
Storytelling Is As Old As Mankind ............. Essay ...... 28
Vocabulary Workshop Denotation and Connotation .................... 32
Conflict, JACK FINNE Y
Respond to Characters
Contents of the Dead Man’s Pocket ... Short Story ...... 33
Vocabulary Workshop Academic Vocabulary ............................ .... 52
Mood, R . K . N A R AYA N An Astrologer’s Day... Short Story ...... 54
Analyze Cultural Context
Grammar Workshop Apostrophes in Possessives ......................... 63

Dialect, CHINUA ACHEBE Civil Peace................... Short Story ...... 64

Analyze Historical Context
Vocabulary Workshop Dictionary Use........................................... 72
Allegory, EDGAR ALLAN POE
Interpret Imagery
The Masque of the Red Death .............. Short Story ...... 73

T10
 Contents

“Seize him and unmask him—that we may

know whom we have to hang, at sunrise . . .”
—Edgar Allan Poe

Part Two Making Choices ..................................................................... 85

Literary Focus Theme and Character ............................................ 86
Motivation,
Connect to Personal A M Y TA N Two Kinds.................................. Short Story ...... 88
Experience
Dialogue, JAMES THURBER
Make Generalizations About
Characters The Car We Had to Push ......................... Short Story .... 103
Implied Theme, GABRIEL GARCÍA MÁRQUEZ
Make Inferences About Theme
Tuesday Siesta............................................. Short Story .... 112
Vocabulary Workshop Multiple-Meaning Words ......... ............... 122

J H U M PA L A H I R I
Theme, When Mr. Pirzada Came to Dine ......... Short Story .... 123
Compare and Contrast
Characters Grammar Workshop Sentence Combining .................. ............... 142

PAU L E M A R S H A L L
Characterization, To Da-duh, in Memoriam ....................... Short Story .... 144
Make Inferences About
Characters E D W I D G E DA N T I C AT
Irony, The Book of the Dead .............................. Short Story .... 157
Analyze Plot
LUISA VALENZUEL A The Censors .......... Short Story .... 172
Satire,
Analyze Cause-and-Effect CARL SAFINA
Relationships Cry of the Ancient Mariner .................................. ............... 178

T11
 Skills and Standards

Part Three Life Transitions ................................................................... 183

Literary Focus Narrator and Voice ............................................... 184
Reliable/Unreliable Narrator, ALICE WALKER Everyday Use ................. Short Story .... 186
Question

Comparing Literature Across Genres

Point of View, DORIS LESSING Through the Tunnel .. Short Story .... 199
Visualize
LAME DEER The Vision Quest ...................... Legend .... 212
F. S C O T T F I T Z G E R A L D Dear Pie....................... Letter .. .. 215

Point of View, JUDITH ORTIZ COFER

Interpret Imagery
Catch the Moon .......................................... Short Story .... 218
Grammar Workshop Sentence Fragments .................................. 229
Persona, ISABEL ALLENDE And of Clay Are
Analyze Sensory Details
We Created ................................................... Short Story .... 230
Style, L E S L I E M A R M O N S I L KO Lullaby ............ Short Story .... 245
Evaluate Characters
Writing Workshop Literary Criticism.......................................... .. 258
Professional Model

PAU L E M A R S H A L L
Real-Life Story Behind
“To Da-Duh, In Memoriam” ........................... Essay .. .. 259
Speaking, Listening, and
Viewing Workshop Literary Criticism .......................................... 266
Independent Reading ................................................................ 268
Assessment .............................................................................. .. 270
MARK T WAIN from When the Buffalo
Climbed a Tree ............................................ Short Story .... 270
JAMES THURBER
The Unicorn in the Garden .................... Short Story .... 271

T12
 Contents
Skills and Standards

U N IT T WO
Nonfiction
Genre Focus: Nonfiction ......................................................... 278
Literary Analysis Model
RO BER T E . H E M EN WAY
from Zora Neale Hurston ......................... Biography .... 280
Wrap-Up .................................................................... ............... 282

Part One
The Power of Memory ......... 283

Literary Focus Narrative Nonfiction:

Autobiography and Biography ...................................... ............... 284
Historical Narrative, J E A N N E W A K AT S U K I H O U S TO N
Summarize
AND JA MES D. HOUSTON
from Farewell to Manzanar .......................... Memoir .... 288
Grammar Workshop Subject-Verb Agreement ............................ 303
Theme,
Analyze Cause-and-Effect
Relationships
M A R K M AT H A B A N E from Kaffir Boy ........... Memoir .... 304
Memoir, M AYA A N G E L O U
Draw Conclusions About
Author’s Beliefs
Living Well. Living Good................................. Essay .... 321

“Living life as art requires a readiness to forgive.”

—Maya Angelou

When I Get that Feeling, 2000. Colin Bootman.

Oil on board. Private collection.

T13
 Skills and Standards

Author’s Purpose, M A R K S T E V E N S A N D A N N A LY N S W A N
Make Generalizations About
Events
First Impressions from DeKooning:
An American Master ................................. Biography .. .. 328
Vocabulary Workshop Jargon ..................................................... 340

Voice, FR ANK MCOURT Typhoid Fever

Analyze Style
from Angela’s Ashes ....................................... Memoir .... 341
Historical Perspective
C A R O LY N T . H U G H E S

Anecdote,
from Looking Forward to the Past ................ Profile .... 352
Connect to Personal
Experience ANNIE DILLARD Terwilliger Bunts One
from An American Childhood .................... Memoir .. .. 356

Part Two
Quests and Encounters ... 365
Literary Focus Expository and Personal Essays ............................ 366
Narrative Essay, JEWELLE L. GOMEZ
Connect to Personal
Experience
A Swimming Lesson ........................ Narrative Essay .... 368
Structure, LEWIS THOMAS
Draw Conclusions About
Meaning
The Tucson Zoo ................................ Expository Essay .... 375
Thesis, SANDR A CISNEROS Straw into Gold: The
Analyze Text Structure
Metamorphosis of the Everyday .... Personal Essay .... 382

Part Three
Keeping Freedom Alive .. .. 391
Literary Focus Persuasive Essay and Speech ............................... 392
Rhetorical Devices, SUSAN B. ANTHONY On Women’s Right
Recognize Bias
to Vote . .................................................................. Speech .... 394

T14
 Contents
Skills and Standards

Allusion, MARTIN LUTHER KING JR. I’ve Been to

Identify Problem and Solution
the Mountaintop ............................................... Speech .... 401

Comparing Literature Different Viewpoints

Rhetorical Devices, CHESTER BROWN
Identify Assumptions and
Ambiguities
Not Just Comics .................................... Graphic Novel .... 419
TERESA MÉNDEZ “Hamlet” Too Hard?
Try a Comic Book.......................... Newspaper Article .... 422
ANDREW ARNOLD
The Graphic Novel
Silver Anniversary ............................ Web site Article .... 426

Quotation, CARL SANDBURG Address on the Anniversary

Distinguish Fact and Opinion
Author’s Purpose,
Identify Problem and Solution
of Lincoln’s Birth .............................................. Speech .... 431
BAR ACK OBAMA
What I See in Lincoln’s Eyes ................ Personal Essay .... 439
TONI MORRISON
Cinderella’s Stepsisters .................................. Speech .... 442
Writing Workshop Biographical Narrative ................................... 448

Professional Model

ALICE JACKSON BAUGHN

from Eudora Welty: 1909–2001 ............... Biography .... 449
Speaking, Listening, and Viewing Workshop
Photo Essay ................................................................................. 456
Independent Reading ................................................................ 458

Assessment ................................................................. ............... 460

from Wouldn’t Take Nothing

M AYA A N G E L O U
for My Journey Now .......................... Personal Essay .... 460

T15
 Skills and Standards

U N IT T H R EE

Genre Focus: Poetry ................................................................ 468

Literary Analysis Model
W A LT W H I T M A N
O Captain! My Captain! .................................... Poem .... 470
Wrap-Up ................................................................................. .. 472

................................... .. 473
Literary Focus Form and Structure .............................................. 474
Line and Stanza, RO BER T H AY D EN Those Winter Sundays..... Poem .... 476
Analyze Tone
Vocabulary Workshop Homonyms and Homophones ............. .. 480

Enjambment, B I L LY C O L L I N S Creatures ................................... Poem .... 481

Analyze Poetic Structure
Meter and Rhythm, WILLIAM SHAKESPEARE Shall I Compare
Analyze Form
Thee to a Summer’s Day? ............................... Sonnet .... 486
Rhyme and Rhyme Scheme, JE AN TOOMER Reapers ....................................... Poem .... 492
Analyze Meter and Rhythm
Free Verse, PA B LO N E RU DA Ode to My Socks .................... Ode .... 496
Monitor Comprehension

“Violent socks, my feet were two fish made

of wool”
—Pablo Neruda

Personage Lancant Une Pierre a un Oiseau,

1926. Joan Miro.

T16
 Contents
Skills and Standards

Prose Poetry, ALEKSANDR SOLZHENITSYN

Visualize
A Storm in the Mountains..................... Prose Poem .... 504
Grammar Workshop:
Pronoun-Antecedent Agreement .................................. ............... 509

Speaker, N . SCOT T M O M A DAY

Apply Background Knowledge
The Print of the Paw ................................ Prose Poem .... 510
To An Aged Bear .................................................. Poem .... 513
Haiku,
Interpret Imagery M AT S U O B A S H O Three Haiku ......................... Haiku .... 516
Tanka,
Compare and Contrast L ADY ISE Two Tanka .......................................... Tanka .... 521
Imagery
Verse Paragraph,
CHITR A BANER JEE DIVAK ARUNI
Make Inferences About the Woman with Kite ................................................. Poem .... 525
Speaker

............................................... ............... 531

Literary Focus The Language of Poetry ........................ ............... 532

Personification, After Great Pain,

E M I LY D I C K I N S O N
Compare and Contrast Tone A Formal Feeling Comes................................... Poem .... 534
Heart! We Will Forget Him! ............................. Poem .... 537
Mood, THEODORE ROETHKE
Analyze Diction The Meadow Mouse ........................................... Poem .... 541
Lyric Poetry, W I L L I A M B U T L E R Y E AT S
Analyze Repetition and Rhyme
Down by the Salley Gardens .......................... Poem .... 547
He Wishes for the Cloths of Heaven ............ Poem .... 550
Metaphor and Simile, JIMMY SANTIAGO BACA
Preview and Review
I Am Offering This Poem ................................. Poem .... 554
Juxtaposition, E.E. CUMMINGS since feeling is first............. Poem .... 559
Paraphrase
Repetition, Draw Conclusions G W E N D O LY N B R O O K S Horses Graze.............. Poem .... 563
About Meaning
Imagery, R I TA D OV E Parlor .................................................. Poem .... 568
Interpret Imagery
Diction, SHERMAN ALEXIE Secondhand Grief ............ Poem .... 572
Visualize
Narrative Poetry, DUDLE Y R ANDALL Ballad of Birmingham .. Ballad .... 576
Apply Background Knowledge

T17
 Skills and Standards

Media Workshop Compare Media Genres ................................ .. 582

Historical Perspective
ROGER EBERT
4 Little Girls ............................................... Film Review .... 588

.............................................................. 591
Literary Focus Sound Devices ................................................... .. 592

Alliteration, LUCILLE CLIF TON miss rosie ............................. Poem .... 594
Analyze Sensory Details
Assonance and Consonance, ROBERT FROST After Apple-Picking ............. Poem .... 599
Clarify Meaning
Fire and Ice ............................................................. Poem .. .. 603
Symbol, NAOMI SHIHAB NYE Arabic Coffee ................ Poem .. .. 607
Analyze Rhythm
CHANG-RAE LEE
We Are Family ................................................................. .. 612

Comparing Literature Across Genres

Rhyme and Rhyme Scheme,
Make Inferences About Theme
L ANGSTON HUGHES Dream Boogie ............... Poem .... 620
Motto . . . ..................................................................... Poem .. .. 621
STUDS TERKEL from Giants of Jazz ....... Biography .... 623
W YNTON MARSALIS Playing Jazz ................... Letter .... 627

Writing Workshop Reflective Essay ............................................ 632

Professional Model

JOY H AR JO
Suspended .............................................................. Essay .. .. 633
Speaking, Listening, and Viewing Workshop
Reflective Presentation .............................................................. .. 640

T18
 Contents
Skills and Standards

Independent Reading ................................................................ 642

Assessment ................................................................. ............... 644

L ANGSTON HUGHES
Daybreak in Alabama ........................................ Poem .... 644
NAOMI SHIHAB NYE
from Red Velvet Dress ............................. Short Story .... 644

U N IT F O U R

Genre Focus: Drama................................................................ 652

Literary Analysis Model
AUGUST WILSON
The Janitor ............................................. Modern Drama .... 654
Wrap-Up .................................................................... ............... 656

.. 657
Literary Focus Tragedy ................................................. ............... 658

Literary History Classical Greek Drama ....................................... 660

Protagonist and Antagonist, SOPHOCLES Antigone .................................... Tragedy .... 662

Interpret Imagery
M A R YA N N B I R D
Ever Alluring ...................................................................... 709

Vocabulary Workshop Denotation and Connotation .. ............... 713

Literary History Shakespearean Drama ...................................... 714

T19
Another random document with
no related content on Scribd:
The Project Gutenberg eBook of Hazel
 This ebook is for the use of anyone anywhere in the United
States and most other parts of the world at no cost and with
almost no restrictions whatsoever. You may copy it, give it away
or re-use it under the terms of the Project Gutenberg License
included with this ebook or online at www.gutenberg.org. If you
are not located in the United States, you will have to check the
laws of the country where you are located before using this
eBook.

Title: Hazel

Author: Mary White Ovington

Illustrator: Harry Roseland

Release date: May 8, 2022 [eBook #68017]

Language: English

Original publication: United States: Crisis Publishing Company,

1913

Credits: David E. Brown and the Online Distributed Proofreading

Team at https://www.pgdp.net (The New York Public
Library's Digital Collections)

*** START OF THE PROJECT GUTENBERG EBOOK HAZEL ***

Hazel
 HAZEL
BY
MARY WHITE OVINGTON
AUTHOR OF “HALF A MAN”

WITH ILLUSTRATIONS
BY
HARRY ROSELAND

CRISIS PUBLISHING COMPANY

26 Vesey Street
NEW YORK
 Copyright, 1913
BY
MARY WHITE OVINGTON

Robert N. Wood,
Printer
202 East Ninety-ninth Street, New York
 TO
E. D. M.
 PREFACE
When I was a little girl, my favorite books dealt with children whose
lives were like my own. I smudged with many readings the pages
that told of Susy and Prudy and Dotty in Portland, of their visits to the
country, of their every-day happenings. Their adventures were far
dearer to me than those of foreign lads and lasses and richly clad
little princesses whose ways were not as my ways.
I have thought for some time that the colored children in the United
States might also like to have their intimate books telling of
happenings that were like their own. They must be tired of reading
always of far-away children. So, out of my years of experience
among these soft-eyed, velvet-cheeked small friends, I have written
this story.
I have purposely avoided dialect. Correct English spelling is difficult
enough to young readers without superimposing other forms for the
not too-familiar words. I have, however, tried to give the turn of
expression in the southern speech.
I hope my colored child friends will smudge my pages. And if the
white child stops to read, I trust that she will feel an awakened
sympathy for the dark-faced boys and girls whose world is outside
her own.
M. W. O.
Brooklyn, N. Y.,
September 15, 1913.
 CONTENTS
CHAPTER PAGE
I. The Queen of Sheba 7
II. Health and a Day 20
III. Leave Taking 30
IV. The Journey 41
V. Granny 54
VI. Letters 67
VII. That Old Time Religion 74
VIII. Brother and Sister 84
IX. Lost 98
X. Spring 114
XI. Choosing a Birthday 125
XII. Good-Bye 139
XIII. Home 153
HAZEL
 CHAPTER I
THE QUEEN OF SHEBA

It was raining, and Hazel Tyler had not been allowed to go out all
day. As she sat looking out of her window into the narrow Boston
street she would have made a pretty picture but for the woe-begone
expression on her brown face. Her hair was soft and curly, her eyes
dark and clear, her mouth full, but delicate. Usually it was happy in
expression; but this afternoon it drooped at the corners. Four o’clock!
Two hours more before supper. Oh, this stupid, stupid Saturday!
She got up and walked from the tiny parlor, where she had been
sitting, into a tiny bedroom where a large baby doll lay on the bed
she and her mother shared. Hazel took the doll up, shook it severely,
and put it down again. She was growing to care very little for dolls;
they were not warm and dimpled and you had to do all the talking for
them. She left the tiny bedroom and stepped into a tiny kitchen thus
making the tour of the apartment.
“Mother,” she said to a slender woman who stood at an ironing-
board, “may I go around and play with the McGinnis’s baby? It’s such
a little way.”
Mrs. Tyler looked up. Her face like Hazel’s was gentle and delicate,
but the features were finer and the skin lighter in shade. She was
ironing an elaborate pink tea gown, and she seemed ill-fitted for such
taxing work.
“No, Hazel,” she replied. “I’ve told you that you can’t go out in the
rain while you have a cold. There is no use in teasing.”
Hazel knew this to be true, and for a time was silent, watching her
mother. She ran her slender finger along the tucks of the pink gown.
“What pretty clothes Mrs. Hollingsworth always has,” she said. “I
wish I could have something pretty. I’ve nothing to wear but this blue
serge.”
Hazel’s mother looked at her a second and the child felt abashed.
She knew very well that since her father’s death—her dear, dear
father—her mother had had to support them both, and how hard she
had worked at whatever would bring in money—at sewing,
hairdressing, and even this tiring laundry. She knew, too, that when
the rent was paid, and the grocer’s and butcher’s bills settled, the
little money left went first to her and her wants. Why, only last week
she had had pretty hair ribbons; and her mother’s black dress was
growing shabby. She bent over and kissed the hand that was patting
the pink wrapper into place.
“I’ll go into the parlor and make my picture-puzzle,” she said.
“That’s right, dear,” Mrs. Tyler answered.
The little girl worked for a time at the elaborate puzzle spread out on
the parlor table; but its green trees were perplexing, and she soon
returned to the kitchen to find the pink dress finished and on the top
of a pile of speckless linen in the laundry basket. Her mother stood
with hat and coat on.
“I’m going to run out to make sure that John comes to-night to get
the clothes,” Mrs. Tyler said. “Now, don’t look so woe-begone, dear.
I’ll cook waffles for supper, and we’ll have the maple syrup that Mrs.
Brown brought us from the country.”
Hazel’s face brightened. “May we eat off the pretty china?” she
asked.
“Yes, you may set the table with it when I get back.” And Mrs. Tyler
went out into the narrow hall, down the dark stairs and into the
narrow street.
She could hardly have reached the corner when Hazel heard a
knock at the door, and opened it to a little black girl who at once
stepped gaily into the room.
“Where you been all day, Hazel?” she asked.
She was a jolly little girl of ten, a year younger than Hazel, with
plump arms and legs and a sturdy body. Her crinkly hair was tied
with a bright red ribbon, and she wore a gay bandanna about her
neck. Her black eyes shone with good will.
“How do you do, Charity?” Hazel said, a little hesitatingly.
She liked this new neighbor and had played with her the rare
afternoons that she had been allowed on the street; but she knew
her mother scarcely approved of Charity. But then her mother did not
approve of any of the girls and boys on Hammond Street and one
must play with some one.
“Your mother’s out,” said Charity. “I know, for I saw her go. Where
you been all day, Hazel?”
“Here at home,” Hazel answered. “I’ve got a sore throat, and I’m not
allowed to go out, and there’s nothing to do in this poky place.”
“Let’s play,” said Charity, “you shut your eyes and I’ll hide.”
“Pooh,” Hazel replied contemptuously, “you know, Charity, there isn’t
a single place here big enough for a cat to hide in.”
“Well, let’s, let’s,” Charity looked about for inspiration, and her glance
fell on the doll in the adjoining room, “let’s play house.”
“No, you would just beat the baby. Let’s play a new game, something
brand new that we never played before.”
Charity began jumping about on one foot, and on into the little parlor,
but she had no suggestion to offer. Hazel followed her and as her
eye fell on the family Bible, her face lighted with excitement.
“I know,” she declared, “let’s play a Bible game. Let’s act a Bible
story the way we act history at school.”
Charity stood on her two feet. “George Washington?” she asked.
“No, not George Washington, but like that. A Bible story. We can’t be
Joseph and his Brethren,” Hazel went on musing, “there’re too many
of them. I don’t like Jacob—”
“I’ll be King Solomon,” Charity exclaimed quite suddenly.
She sat in the arm chair and held herself erect. Taking her bandanna
she wreathed it in a turban about her head.
“That’s splendid, Charity,” Hazel said heartily. “That’s your crown and
you’re sitting on your throne. Now who shall I be?”
“You? Why, of course, you’ll be the Queen of Sheba.”
Hazel laughed gleefully. “I’ll be a real queen, won’t I? What’ll I do,
Charity?” Her friend’s knowledge of Bible history was evidently
greater than her own.
“You ask me questions,” Charity explained, “all sorts of questions,
and I answer them.”
“But what do I wear?”
“Let me recollect.” Charity shut her eyes to think the harder. “The
Queen of Sheba she come to Jerusalem, with, with a very great
train. You must wear a train, Hazel.”
“There isn’t a thing with a train here,” Hazel replied mournfully.
Looking into the kitchen her eyes fell upon the laundry basket with
the pink dress on top. “I could borrow Mrs. Hollingsworth’s tea
gown,” she said.
Now Charity might make slips in grammar and slap unoffending
dolls, but the laundry was sacred to her. Once the pile of muslin was
ironed and placed in the basket it was not to be tampered with.
“You daren’t,” she said.
Hazel walked into the other room, took the pink wrapper and slowly
put it on. Her heart beat fast and her fingers trembled, but she
fastened the dress at the throat and held it up about her. Entering the
parlor she went to the chair in which King Solomon sat, and bowed
low, dropping the pink dress so that it trailed upon the floor. Then she
looked up into the king’s dark face.
“Isn’t this a royal great train?” she said softly.
King Solomon nodded. He was saying to himself, “You bet, my
mother needn’t say she’s such a good little girl again!”
The Queen of Sheba bowed once more. “What do I do next,
Charity?”
“You ask me questions.”
“I can’t think of any;” and the queen, like Alice in Through the
Looking Glass, courtesied again to help her think. “What did I have
for dinner?” she said at last.
“Myrrh and mint and jasper and honey and the honeycomb.”
The queen looked up in admiration. “That’s a beautiful answer; how
did you think of all those things? But is jasper something to eat?”
King Solomon did not regard the question. “Ask me something else?”
he demanded.
“What—what—what did I have for breakfast?”
The king stuck out his tongue derisively. “Can’t you think of a single
thing, Hazel Tyler, but food?”
Hazel felt her lack of originality. “Have you had pleasant weather this
past week in Jerusalem?” she asked politely.
“It has rained,” replied King Solomon, “for forty days and nights; and
great was the fall thereof.”
The king’s answers were so much more impressive than the queen’s
questions that Hazel sought for first place.
“Now I shall dance before the king,” she said, and began slowly
advancing and receding before King Solomon’s throne, holding up
the pink dress as she moved. She looked very pretty and graceful as
she made her low courtesies and King Solomon’s eyes gleamed
approbation.
“If you like a me, as I like a you,” he began to sing and the Queen of
Sheba stepped in a little livelier fashion toward the kitchen door.
“’Cause I love you,” he went on, and the little queen danced before
him over the door-sill and into the kitchen where she struck against
the table and fell in a heap upon the floor.
The singing stopped. Charity stooped to where Hazel sat, a
frightened heap. She examined the pink gown. It had a black
smudge on the back.
“Have to be done all over again,” said Charity briefly.
Hazel rose and took the dress off. Her lip quivered.
“I’d best go home,” said Charity. “There ain’t nothing I can do. Oh,
Hazel won’t you catch it!”
“My mother never whips me,” said Hazel sharply.
“She ain’t like mine,” said Charity.
The bandanna was off King Solomon’s head and he crept out of the
door and down the stairs to his home.
The Queen of Sheba sat on the kitchen chair with the soiled dress
on her lap. Like the queen of old, “there was no more spirit in her.”
She remained quite still two, three, five minutes. Then she heard her
mother knock.
She opened the door, the dress in her hand, and showed the spot
without speaking.
“How did it happen?” Mrs. Tyler asked.
“I was playing with Charity. It wasn’t her fault,” hastily, “she told me
not to touch it, but I was the Queen of Sheba and I wanted a train.
Will it have to be done all over, Mother? Charity said it would have to
be done all over.”
“Yes, it will,” said Mrs. Tyler, and turned to the tub where she began
to draw water.
“You must go to bed, Hazel,” she said sternly. “Later I will bring you a
supper of bread and milk.”
As the little girl lay in bed, she could hear her mother rub, rubbing
the dress against the wash-board. Then that sound ceased, and the
door of the refrigerator was opened and shut. She silently ate the
bread and milk brought her. No jolly time together at the table over
the waffles and maple syrup and the pretty flowered plates! She
heard her mother’s tired footsteps moving from ironing-board to
stove and back to ironing-board, and she noted the click of the iron
as it fell upon the metal holder. She could almost count each
movement up and down the waist and the long skirt.