“After that hard winter, one could not get enough of the nimble air. Every morning I wakened with a fresh consciousness that winter was over. There were none of the signs of spring for which I used to watch in Virginia, no budding woods or blooming gardens. There was only—spring itself; the throb of it, the light restlessness, the vital essence of it everywhere: in the sky, in the swift clouds, in the pale sunshine, and in the warm, high wind—rising suddenly, sinking suddenly, impulsive and playful like a big puppy that pawed you and then lay down to be petted. If I had been tossed down blindfold on that red prairie, I should have known that it was spring.”

“I wanted to walk straight on through the red grass and over the edge of the world, which could not be very far away. The light and air abot me told me that the world ended here: only the ground and sun and sky were left, and if one went a little farther there would only be sun and sky, and one would float off into them, like the tawny hawks which sailed over our heads making slow shadows on the grass.”

“...she sat down at the piano and began to run over the first act of the Walkure, the last of his roles they had practiced together; playing listlessly and absently at first, but with gradually increasing seriousness. Perhaps it was the still heat of the summer night, perhaps it was the heavy odors from the garden that came in through the open windows; but as she played there grew and grew the feeling that he was there, beside her, standing in his accustomed place. In the duet at the end of the first act she heard him clearly: "Thou art the Spring for which I sighed in Winter's cold embraces." Once as he sang it, he had put his arm about her, his one hand under her heart, while with the other he took her right from the keyboard, holding her as he always held Sieglinde when he drew her toward the window. She had been wonderfully the mistress of herself at the time; neither repellent nor acquiescent. She remembered that she had rather exulted, then, in her self-control--which he had seemed to take for granted, though there was perhaps the whisper of a question from the hand under her heart. "Thou art the Spring for which I sighed in Winter's cold embraces." Caroline lifted her hands quickly from the keyboard, and she bowed her head in them, sobbing.”

“There were no clouds, the sun was going down in a limpid, gold-washed sky. Just as the lower edge of the red disk rested on the high fields against the horizon, a great black figure suddenly appeared on the face of the sun. We sprang to our feet, straining our eyes toward it. In a moment we realized what it was. On some upland farm, a plough had been left standing in the field. The sun was sinking just behind it. Magnified across the distance by the horizontal light, it stood out against the sun, was exactly contained within the circle of the disk; the handles, the tongue, the share—black against the molten red. There it was, heroic in size, a picture writing on the sun.”

“While the train flashed through never-ending miles of ripe wheat, by country towns and bright-flowered pastures and oak groves wilting in the sun, we sat in the observation car, where the woodwork was hot to the touch and red dust lay deep over everything. The dust and heat, the burning wind, reminded us of many things. We were talking about what it is like to spend one’s childhood in little towns like these, buried in wheat and corn, under stimulating extremes of climate: burning summers when the world lies green and billowy beneath a brilliant sky, when one is fairly stifled in vegetation, in the color and smell of strong weeds and heavy harvests; blustery winters with little snow, when the whole country is stripped bare and gray as sheet-iron. We agreed that no one who had not grown up in a little prairie town could know anything about it. It was a kind of freemasonry, we said.”

“LAST summer I happened to be crossing the plains of Iowa in a season of intense heat, and it was my good fortune to have for a traveling companion James Quayle Burden—Jim Burden, as we still call him in the West. He and I are old friends—we grew up together in the same Nebraska town—and we had much to say to each other. While the train flashed through never-ending miles of ripe wheat, by country towns and bright-flowered pastures and oak groves wilting in the sun, we sat in the observation car, where the woodwork was hot to the touch and red dust lay deep over everything. The dust and heat, the burning wind, reminded us of many things. We were talking about what it is like to spend one's childhood in little towns like these, buried in wheat and corn, under stimulating extremes of climate: burning summers when the world lies green and billowy beneath a brilliant sky, when one is fairly stifled in vegetation, in the color and smell of strong weeds and heavy harvests; blustery winters with little snow, when the whole country is stripped bare and gray as sheet-iron. We agreed that no one who had not grown up in a little prairie town could know anything about it. It was a kind of freemasonry, we said.”

“These were the distractions I had to choose from. There were no other lights burning downtown after nine o'clock. On starlight nights I used to pace up and down those long, cold streets, scowling at the little, sleeping houses on either side, with their storm-windows and covered back porches. They were flimsy shelters, most of them poorly built of light wood, with spindle porch-posts horribly mutilated by the turning-lathe. Yet for all their frailness, how much jealousy and envy and unhappiness some of them managed to contain! The life that went on in them seemed to me made up of evasions and negations; shifts to save cooking, to save washing and cleaning, devices to propitiate the tongue of gossip. This guarded mode of existence was like living under a tyranny. People's speech, their voices, their very glances, became furtive and repressed. Every individual taste, every natural appetite, was bridled by caution.The people asleep in those houses, I thought, tried to live like the mice in their own kitchens; to make no noise, to leave no trace, to slip over the surface of things in the dark. The growing piles of ashes and cinders in the back yards were the only evidence that the wasteful, consuming process of life went on at all. On Tuesday nights the Owl Club danced; then there was a little stir in the streets, and here and there one could see a lighted window until midnight. But the next night all was dark again.”