But Jack, no panic showing, Just watched his beanstalk growing, And twined with tender fingers the tendrils pole. At all her words funereal He smiled a smile ethereal, Or sighed an absent-minded "Bless my soul!" That hollow-hearted creature Would never change a feature: No tear bedimmed his eye, however touching was her talk. She never fussed or flurried him, The only thing that worried him Was when no bean-pods grew upon the stalk! But then he wabbled loosely His head, and wept profusely, And, taking out his handkerchief to mop away his tears, Exclaimed: "It hasn't got any!" He found this blow to botany Was sadder than were all his mother's fears. The Moral is that gardeners pine Harry Herbert Knibbs was born at Niagara Falls, October 24, 1874. After a desultory schooling, he actended Harvard for three years when he was thirty-four. "Somebody said I took honors in English," says Knibbs, "but I never saw them." He wrote his first book, Lost Farm Camp, a novel, as a class exercise. In 1911, Knibbs settled in Los Angeles, California, where he has lived ever since. In Riders of the Stars (1916) and Songs of the Trail (1920), Knibbs carries on the tradition of Bret Harte and the Pike County Ballads. High-hearted verse this is, with more than an occasional flash of poetry. To the typical Western breeziness, Knibbs adds a wider whimsicality, a rough-shod but nimble imagination. THE VALLEY THAT GOD FORGOT Out in the desert spaces, edged by a hazy blue, They were there, in the distance dreaming They were there, to his frenzied seeming, Davison's face was leather; his mouth was a swollen blot, His mind was a floating feather, in The Valley That God Forgot; Wild as a dog gone loco, Or sullen or meek, by turns, And whispered of pools and ferns. Gold! Why his, for the finding! But water was never found, Save in deep caverns winding miles through the underground: Cool, far, shadowy places Edged by the mirrored trees, When Davison saw the faces! And fear let loose his knees. There was Shorty who owed him money, and Billing who bossed the crowd; And Steve whom the boys called "Sunny," and Collins who talked so loud: Miguel with the handsome daughter, And offered him gold, in pay. Gold? It was never cheaper. And Davison shook his head: "The price of a drink is steeper out here than in town," he said. He laughed as they mouthed and muttered "I'm through!" And he knelt and fumbled the cap of his dry canteen Then, rising, he swayed and stumbled into a black ravine: His ghostly comrades followed, For Davison's end was near, And a shallow grave they hollowed, When up from it, cool and clear Bubbled the water-hidden a pick-stroke beneath the sand; hand.. Davison, phantom-ridden, scooped with a shaking Davison swears they made it, And won-so the town-folk say: Called it, The Morning-Glory-near those abandoned stamps, And Davison's crazy story was told in a hundred camps: Time and the times have tamed it, His yarn-and this desert spot, But I'm strong for the man who named it, Anna Hempstead Branch Anna Hempstead Branch was born at New London, Connecticut. She graduated from Smith College in 1897 and has devoted herself to literature ever since. Her two chief volumes, The Shoes That Danced (1905) and Rose of the Wind (1910), show a singer who is less fanciful than philosophic. Her lines are admirably condensed, rich in personal value as well as poetic revelation; they maintain a high and austere level. A typical poem, "The Monk in the Kitchen," with its spiritual loveliness and verbal felicity, is a celebration of cleanness that gives order an almost mystical nobility. THE MONK IN THE KITCHEN I Order is a lovely thing; On disarray it lays its wing, Quiet as a nun's face. Lo-I will have thee in this place! All things that shine through thee appear That with angelic charity Revealest beauty where thou art, II Ye stolid, homely, visible things, What are ye? I know not. III Brazen pan and iron pot, |