She slightly moved her hand in his and felt the harsh contact of his teamster callouses. The sensation was exquisite. He, too, moved his hand, to accommodate the shift of hers, and she waited fearfully. She did not want him to prove like other men, and she could have hated him had he dared to take advantage of that slight movement of her fingers and put his arm around her. He did not, and she flamed toward him. There was fineness in him. He was neither rattle-brained, like Bert, nor coarse like other men she had encountered. For she had had experiences, not nice, and she had been made to suffer by the lack of what was termed chivalry, though she, in turn, lacked that word to describe what she divined and desired.
And he was a prizefighter. The thought of it almost made her gasp. Yet he answered not at all to her conception of a prizefighter. But, then, he wasn't a prizefighter. He had said he was not. She resolved to ask him about it some time if … if he took her out again. Yet there was little doubt of that, for when a man danced with one girl a whole day he did not drop her immediately. Almost she hoped that he was a prizefighter. There was a delicious tickle of wickedness about it. Prizefighters were such terrible and mysterious men. In so far as they were out of the ordinary and were not mere common workingmen such as carpenters and laundrymen, they represented romance. Power also they represented. They did not work for bosses, but spectacularly and magnificently, with their own might, grappled with the great world and wrung splendid living from its reluctant hands. Some of them even owned automobiles and traveled with a retinue of trainers and servants. Perhaps it had been only Billy's modesty that made him say he had quit fighting. And yet, there were the callouses on his hands. That showed he had quit.
CHAPTER VI
They said good-bye at the gate. Billy betrayed awkwardness that was sweet to Saxon. He was not one of the take-it-for-granted young men. There was a pause, while she feigned desire to go into the house, yet waited in secret eagerness for the words she wanted him to say.
“When am I goin' to see you again?” he asked, holding her hand in his.
She laughed consentingly.
“I live 'way up in East Oakland,” he explained. “You know there's where the stable is, an' most of our teaming is done in that section, so I don't knock around down this way much. But, say—” His hand tightened on hers. “We just gotta dance together some more. I'll tell you, the Orindore Club has its dance Wednesday. If you haven't a date—have you?”
“No,” she said.
“Then Wednesday. What time'll I come for you?”
And when they had arranged the details, and he had agreed that she should dance some of the dances with the other fellows, and said good night again, his hand closed more tightly on hers and drew her toward him. She resisted slightly, but honestly. It was the custom, but she felt she ought not for fear he might misunderstand. And yet she wanted to kiss him as she had never wanted to kiss a man. When it came, her face upturned to his, she realized that on his part it was an honest kiss. There hinted nothing behind it. Rugged and kind as himself, it was virginal almost, and betrayed no long practice in the art of saying good-bye. All men were not brutes after all, was her thought.
“Good night,” she murmured; the gate screeched under her hand; and she hurried along the narrow walk that led around to the corner of the house.
“Wednesday,” he called softly.
“Wednesday,” she answered.
But in the shadow of the narrow alley between the two houses she stood still and pleasured in the ring of his foot falls down the cement sidewalk. Not until they had quite died away did she go on. She crept up the back stairs and across the kitchen to her room, registering her thanksgiving that Sarah was asleep.
She lighted the gas, and, as she removed the little velvet hat, she felt her lips still tingling with the kiss. Yet it had meant nothing. It was the way of the young men. They all did it. But their good-night kisses had never tingled, while this one tingled in her brain as well as on her lip. What was it? What did it mean? With a sudden impulse she looked at herself in the glass. The eyes were happy and bright. The color that tinted her cheeks so easily was in them and glowing. It was a pretty reflection, and she smiled, partly in joy, partly in appreciation, and the smile grew at sight of the even rows of strong white teeth. Why shouldn't Billy like that face? was her unvoiced query. Other men had liked it. Other men did like it. Even the other girls admitted she was a good-looker. Charley Long certainly liked it from the way he made life miserable for her.
She glanced aside to the rim of the looking-glass where his photograph was wedged, shuddered, and made a moue of distaste. There was cruelty in those eyes, and brutishness. He was a brute. For a year, now, he had bullied her. Other fellows were afraid to go with her. He warned them off. She had been forced into almost slavery to his attentions. She remembered the young bookkeeper at the laundry—not a workingman, but a soft-handed, soft-voiced gentleman—whom Charley had beaten up at the corner because he had been bold enough to come to take her to the theater. And she had been helpless. For his own sake she had never dared accept another invitation to go out with him.
And now, Wednesday night, she was going with Billy. Billy! Her heart leaped. There would be trouble, but Billy would save her from him. She'd like to see him try and beat Billy up.
With a quick movement, she jerked the photograph from its niche and threw it face down upon the chest of drawers. It fell beside a small square case of dark and tarnished leather. With a feeling as of profanation she again seized the offending photograph and flung it across the room into a corner. At the same time she picked up the leather case. Springing it open, she gazed at the daguerreotype of a worn little woman with steady gray eyes and a hopeful, pathetic mouth. Opposite, on the velvet lining, done in gold lettering, was, CARLTON FROM DAISY. She read it reverently, for it represented the father she had never known, and the mother she had so little known, though she could never forget that those wise sad eyes were gray.
Despite lack of conventional religion, Saxon's nature was deeply religious. Her thoughts of God were vague and nebulous, and there she was frankly puzzled. She could not vision God. Here, in the daguerreotype, was the concrete; much she had grasped from it, and always there seemed an infinite more to grasp. She did not go to church. This was her high altar and holy of holies. She came to it in trouble, in loneliness, for counsel, divination, and comfort. In so far as she found herself different from the girls of her acquaintance, she quested here to try to identify her characteristics in the pictured face. Her mother had been different from other women, too. This, forsooth, meant to her what God meant to others. To this she strove to be true, and not to hurt nor vex. And how little she really knew of her mother, and of how much was conjecture and surmise, she was unaware; for it was through many years she had erected this mother-myth.
Yet was it all myth? She resented the doubt with quick jealousy, and, opening the bottom drawer of the chest, drew forth a battered portfolio. Out rolled manuscripts, faded and worn, and arose a faint far scent of sweet-kept age. The writing was delicate and curled, with the quaint fineness of half a century before. She read a stanza to herself:
“Sweet as a wind-lute's airy strains Your gentle muse has learned to sing, And California's boundless plains Prolong the soft notes echoing.”
She wondered, for the thousandth time, what a windlute was; yet much of beauty, much of beyondness, she sensed of this dimly remembered beautiful mother of hers. She communed a while, then unrolled a second manuscript. “To C. B.,” it read. To Carlton Brown, she knew, to her father, a love-poem from her mother. Saxon pondered the opening lines:
“I have stolen away from the