Friend of My Youth (8 page)

“From my earliest years I have delighted in verse and I have occupied myself—and sometimes allayed my griefs, which have been no more, I know, than any sojourner on earth must encounter—with many floundering efforts at its composition. My fingers, indeed, were always too clumsy for crochetwork, and those dazzling productions of embroidery which one sees often today—the overflowing fruit and flower baskets, the little Dutch boys, the bonneted maidens with their watering cans—have likewise
proved to be beyond my skill. So I offer instead, as the product of my leisure hours, these rude posies, these ballads, couplets, reflections.”

Titles of some of the poems: “Children at Their Games,” “The Gypsy Fair,” “A Visit to My Family,” “Angels in the Snow,” “Champlain at the Mouth of the Meneseteung,” “The Passing of the Old Forest,” and “A Garden Medley.” There are other, shorter poems, about birds and wildflowers and snowstorms. There is some comically intentioned doggerel about what people are thinking about as they listen to the sermon in church.

“Children at Their Games”: The writer, a child, is playing with her brother and sister—one of those games in which children on different sides try to entice and catch each other. She plays on in the deepening twilight, until she realizes that she is alone, and much older. Still she hears the (ghostly) voices of her brother and sister calling.
Come over, come over, let Meda come over
. (Perhaps Almeda was called Meda in the family, or perhaps she shortened her name to fit the poem.)

“The Gypsy Fair”: The Gypsies have an encampment near the town, a “fair,” where they sell cloth and trinkets, and the writer as a child is afraid that she may be stolen by them, taken away from her family. Instead, her family has been taken away from her, stolen by Gypsies she can’t locate or bargain with.

“A Visit to My Family”: A visit to the cemetery, a one-sided conversation.

“Angels in the Snow”: The writer once taught her brother and sister to make “angels” by lying down in the snow and moving their arms to create wing shapes. Her brother always jumped up carelessly, leaving an angel with a crippled wing. Will this be made perfect in Heaven, or will he be flying with his own makeshift, in circles?

“Champlain at the Mouth of the Meneseteung”: This poem celebrates the popular, untrue belief that the explorer sailed down the eastern shore of Lake Huron and landed at the mouth of the major river.

“The Passing of the Old Forest”: A list of all the trees—their
names, appearance, and uses—that were cut down in the original forest, with a general description of the bears, wolves, eagles, deer, waterfowl.

“A Garden Medley”: Perhaps planned as a companion to the forest poem. Catalogue of plants brought from European countries, with bits of history and legend attached, and final Canadianness resulting from this mixture.

The poems are written in quatrains or couplets. There are a couple of attempts at sonnets, but mostly the rhyme scheme is simple—
a b a b
or
a b c b
. The rhyme used is what was once called “masculine” (“shore”/”before”), though once in a while it is “feminine” (“quiver”/”river”). Are those terms familiar anymore? No poem is unrhymed.

II

In 1879, Almeda Roth was still living in the house at the corner of Pearl and Dufferin streets, the house her father had built for his family. The house is there today; the manager of the liquor store lives in it. It’s covered with aluminum siding; a closed-in porch has replaced the veranda. The woodshed, the fence, the gates, the privy, the barn—all these are gone. A photograph taken in the eighteen-eighties shows them all in place. The house and fence look a little shabby, in need of paint, but perhaps that is just because of the bleached-out look of the brownish photograph. The lace-curtained windows look like white eyes. No big shade tree is in sight, and, in fact, the tall elms that overshadowed the town until the nineteen-fifties, as well as the maples that shade it now, are skinny young trees with rough fences around them to protect them from the cows. Without the
shelter of those trees, there is a great exposure—back yards, clotheslines, woodpiles, patchy sheds and barns and privies—all bare, exposed, provisional-looking. Few houses would have anything like a lawn, just a patch of plantains and anthills and raked dirt. Perhaps petunias growing on top of a stump, in a round box. Only the main street is gravelled; the other streets are dirt roads, muddy or dusty according to season. Yards must be fenced to keep animals out. Cows are tethered in vacant lots or pastured in back yards, but sometimes they get loose. Pigs get loose, too, and dogs roam free or nap in a lordly way on the boardwalks. The town has taken root, it’s not going to vanish, yet it still has some of the look of an encampment. And, like an encampment, it’s busy all the time—full of people, who, within the town, usually walk wherever they’re going; full of animals, which leave horse buns, cow pats, dog turds that ladies have to hitch up their skirts for; full of the noise of building and of drivers shouting at their horses and of the trains that come in several times a day.

I read about that life in the
Vidette
.

The population is younger than it is now, than it will ever be again. People past fifty usually don’t come to a raw, new place. There are quite a few people in the cemetery already, but most of them died young, in accidents or childbirth or epidemics. It’s youth that’s in evidence in town. Children—boys—rove through the streets in gangs. School is compulsory for only four months a year, and there are lots of occasional jobs that even a child of eight or nine can do—pulling flax, holding horses, delivering groceries, sweeping the boardwalk in front of stores. A good deal of time they spend looking for adventures. One day they follow an old woman, a drunk nicknamed Queen Aggie. They get her into a wheelbarrow and trundle her all over town, then dump her into a ditch to sober her up. They also spend a lot of time around the railway station. They jump on shunting cars and dart between them and dare each other to take chances, which once in a while result in their getting maimed or killed. And they keep an eye out for any strangers coming into town. They follow them, offer to carry their bags, and direct them (for
a five-cent piece) to a hotel. Strangers who don’t look so prosperous are taunted and tormented. Speculation surrounds all of them—it’s like a cloud of flies. Are they coming to town to start up a new business, to persuade people to invest in some scheme, to sell cures or gimmicks, to preach on the street corners? All these things are possible any day of the week. Be on your guard, the
Vidette
tells people. These are times of opportunity and danger. Tramps, confidence men, hucksters, shysters, plain thieves are travelling the roads, and particularly the railroads. Thefts are announced: money invested and never seen again, a pair of trousers taken from the clothesline, wood from the woodpile, eggs from the henhouse. Such incidents increase in the hot weather.

Hot weather brings accidents, too. More horses run wild then, upsetting buggies. Hands caught in the wringer while doing the washing, a man lopped in two at the sawmill, a leaping boy killed in a fall of lumber at the lumberyard. Nobody sleeps well. Babies wither with summer complaint, and fat people can’t catch their breath. Bodies must be buried in a hurry. One day a man goes through the streets ringing a cowbell and calling, “Repent! Repent!” It’s not a stranger this time, it’s a young man who works at the butcher shop. Take him home, wrap him in cold wet cloths, give him some nerve medicine, keep him in bed, pray for his wits. If he doesn’t recover, he must go to the asylum.

Almeda Roth’s house faces on Dufferin Street, which is a street of considerable respectability. On this street, merchants, a mill owner, an operator of salt wells have their houses. But Pearl Street, which her back windows overlook and her back gate opens onto, is another story. Workmen’s houses are adjacent to hers. Small but decent row houses—that is all right. Things deteriorate toward the end of the block, and the next, last one becomes dismal. Nobody but the poorest people, the unrespectable and undeserving poor, would live there at the edge of a boghole (drained since then), called the Pearl Street Swamp. Bushy and luxuriant weeds grow there, makeshift shacks have been put up, there are piles of refuse and debris and crowds of
runty children, slops are flung from doorways. The town tries to compel these people to build privies, but they would just as soon go in the bushes. If a gang of boys goes down there in search of adventure, it’s likely they’ll get more than they bargained for. It is said that even the town constable won’t go down Pearl Street on a Saturday night. Almeda Roth has never walked past the row housing. In one of those houses lives the young girl Annie, who helps her with her housecleaning. That young girl herself, being a decent girl, has never walked down to the last block or the swamp. No decent woman ever would.

But that same swamp, lying to the east of Almeda Roth’s house, presents a fine sight at dawn. Almeda sleeps at the back of the house. She keeps to the same bedroom she once shared with her sister Catherine—she would not think of moving to the large front bedroom, where her mother used to lie in bed all day, and which was later the solitary domain of her father. From her window she can see the sun rising, the swamp mist filling with light, the bulky, nearest trees floating against that mist and the trees behind turning transparent. Swamp oaks, soft maples, tamarack, bitternut.

III

One of the strangers who arrived at the railway station a few years ago was Jarvis Poulter, who now occupies the next house to
Almeda Roth’s—separated from hers by a vacant lot, which he has bought, on Dufferin Street. The house is plainer than the Roth house and has no fruit trees or flowers planted around it. It is understood that this is a natural result of Jarvis Poulter’s being a widower and living alone. A man may keep his house decent, but he will never—if he is a proper man—do much to decorate it. Marriage forces him to live with more ornament as well as sentiment, and it protects him, also, from the extremities of his own nature—from a frigid parsimony or a luxuriant sloth, from squalor, and from excessive sleeping or reading, drinking, smoking, or freethinking.

In the interests of economy, it is believed, a certain estimable gentleman of our town persists in fetching water from the public tap and supplementing his fuel supply by picking up the loose coal along the railway track. Does he think to repay the town or the railway company with a supply of free salt?

This is the
Vidette
, full of shy jokes, innuendo, plain accusation that no newspaper would get away with today. It’s Jarvis Poulter they’re talking about—though in other passages he is spoken of with great respect, as a civil magistrate, an employer, a churchman. He is close, that’s all. An eccentric, to a degree. All of which may be a result of his single condition, his widower’s life. Even carrying his water from the town tap and filling his coal pail along the railway track. This is a decent citizen, prosperous: a tall—slightly paunchy?—man in a dark suit with polished boots. A beard? Black hair streaked with gray. A severe and self-possessed air, and a large pale wart among the bushy hairs of one eyebrow? People talk about a young, pretty, beloved wife, dead in childbirth or some horrible accident, like a house fire or a railway disaster. There is no ground for this, but it adds interest. All he has told them is that his wife is dead.

He came to this part of the country looking for oil. The first oil well in the world was sunk in Lambton County, south of here,
in the eighteen-fifties. Drilling for oil, Jarvis Poulter discovered salt. He set to work to make the most of that. When he walks home from church with Almeda Roth, he tells her about his salt wells. They are twelve hundred feet deep. Heated water is pumped down into them, and that dissolves the salt. Then the brine is pumped to the surface. It is poured into great evaporator pans over slow, steady fires, so that the water is steamed off and the pure, excellent salt remains. A commodity for which the demand will never fail.

“The salt of the earth,” Almeda says.

“Yes,” he says, frowning. He may think this disrespectful. She did not intend it so. He speaks of competitors in other towns who are following his lead and trying to hog the market. Fortunately, their wells are not drilled so deep, or their evaporating is not done so efficiently. There is salt everywhere under this land, but it is not so easy to come by as some people think.

Does this not mean, Almeda says, that there was once a great sea?

Very likely, Jarvis Poulter says. Very likely. He goes on to tell her about other enterprises of his—a brickyard, a limekiln. And he explains to her how this operates, and where the good clay is found. He also owns two farms, whose woodlots supply the fuel for his operations.

Among the couples strolling home from church on a recent, sunny Sabbath morning we noted a certain salty gentleman and literary lady, not perhaps in their first youth but by no means blighted by the frosts of age. May we surmise?

This kind of thing pops up in the
Vidette
all the time.

May they surmise, and is this courting? Almeda Roth has a bit of money, which her father left her, and she has her house. She is not too old to have a couple of children. She is a good enough housekeeper, with the tendency toward fancy iced cakes and decorated tarts that is seen fairly often in old maids. (Honorable
mention at the Fall Fair.) There is nothing wrong with her looks, and naturally she is in better shape than most married women of her age, not having been loaded down with work and children. But why was she passed over in her earlier, more marriageable years, in a place that needs women to be partnered and fruitful? She was a rather gloomy girl—that may have been the trouble. The deaths of her brother and sister, and then of her mother, who lost her reason, in fact, a year before she died, and lay in her bed talking nonsense—those weighed on her, so she was not lively company. And all that reading and poetry—it seemed more of a drawback, a barrier, an obsession, in the young girl than in the middle-aged woman, who needed something, after all, to fill her time. Anyway, it’s five years since her book was published, so perhaps she has got over that. Perhaps it was the proud, bookish father encouraging her?