The Eatonville anthology
Date: 2025-01-23T00:00:00+00:00
Keywords: Short stories; American; African Americans -- Fiction

The Project Gutenberg eBook of The Eatonville anthology

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: The Eatonville anthology

Author: Zora Neale Hurston

Release date: January 23, 2025 [eBook #75183]

Language: English

Original publication: United States: Negro University Press, 1926

Other information and formats: www.gutenberg.org/ebooks/75183

Credits: Steve Mattern

*** START OF THE PROJECT GUTENBERG EBOOK THE EATONVILLE ANTHOLOGY ***

THE EATONVILLE ANTHOLOGY

By ZORA NEALE HURSTON

The Messenger
The World's Greatest Negro Monthly
Volume VIII
September, October, November, 1926

I
The Pleading Woman

Mrs. Tony Roberts is the pleading woman. She just loves to ask for things. Her husband gives her all he can rake and scrape, which is considerably more than most wives get for their housekeeping, but she goes from door to door begging for things.

She starts at the store. “Mist’ Clarke,” she sing-songs in a high keening voice, “gimme lil’ piece uh meat tuh boil a pot uh greens wid. Lawd knows me an’ mah chillen is SO hongry! Hits uh SHAME! Tony don’t fee-ee-eee-ed me!”

Mr. Clarke knows that she has money and that her larder is well stocked, for Tony Roberts is the best provider on his list. But her keening annoys him and he arises heavily. The pleader at this shows all the joy of a starving man being seated at a feast.

“Thass right Mist’ Clarke. De Lawd loveth de cheerful giver. Gimme jes’ a lil’ piece ’bout dis big (indicating the width of her hand) an’ de Lawd’ll bless yuh.”

She follows this angel-on-earth to his meat tub and superintends the cutting, crying out in pain when he refuses to move the knife over just a teeny bit mo’.

Finally, meat in hand, she departs, remarking on the meanness of some people who give a piece of salt meat only two-fingers wide when they were plainly asked for a hand-wide piece. Clarke puts it down to Tony’s account and resumes his reading.

With the slab of salt pork as a foundation, she visits various homes until she has collected all she wants for the day. At the Piersons, for instance: “Sister Pierson, plee-ee-ease gimme uh han’ful uh collard greens fuh me an’ mah po’ chillen! ’Deed, me an’ mah chillen is SO hongry. Tony doan’ fee-ee-eed me!”

Mrs. Pierson picks a bunch of greens for her, but she springs away from them as if they were poison. “Lawd a mussy, Mis’ Pierson, you ain’t gonna gimme dat lil’ eye-full uh greens fuh me an’ mah chillen, is you? Don’t be so graspin’; Gawd won’t bless yuh. Gimme uh han’full mo’. Lawd, some folks is got everything, an’ theys jes’ as gripin’ an stingy!”

Mrs. Pierson raises the ante, and the pleading woman moves on to the next place, and on and on. The next day, it commences all over.

II
Turpentine Love

Jim Merchant is always in good humor—even with his wife. He says he fell in love with her at first sight. That was some years ago. She has had all her teeth pulled out, but they still get along splendidly.

He says the first time he called on her he found out that she was subject to fits. This didn’t cool his love, however. She had several in his presence.

One Sunday, while he was there, she had one, and her mother tried to give her a dose of turpentine to stop it. Accidently, she spilled it in her eye and it cured her. She never had another fit, so they got married and have kept each other in good humor ever since.

III

Becky Moore has eleven children of assorted colors and sizes. She has never been married, but that is not her fault. She has never stopped any of the fathers of her children from proposing, so if she has no father for her children it’s not her fault. The men round about are entirely to blame.

The other mothers of the town are afraid that it is catching. They won’t let their children play with hers.

IV
Tippy

Sykes Jones’ family all shoot craps. The most interesting member of the family—also fond of bones, but of another kind—is Tippy, the Jones’ dog.

He is so thin, that it amazes one that he lives at all. He sneaks into village kitchens if the housewives are careless about the doors and steals meats, even off the stoves. He also sucks eggs.

For these offenses he has been sentenced to death dozens of times, and the sentences executed upon him, only they didn’t work. He has been fed bluestone, strychnine, nux vomica, even an entire Peruna bottle beaten up. It didn’t fatten him, but it didn’t kill him. So Eatonville has resigned itself to the plague of Tippy, reflecting that it has erred in certain matters and is being chastened.

In spite of all the attempts upon his life, Tippy is still willing to be friendly with anyone who will let him.

V
The Way of a Man with a Train

Old Man Anderson lived seven or eight miles out in the country from Eatonville. Over by Lake Apopka. He raised feed-corn and cassava and went to market with it two or three times a year. He bought all of his victuals wholesale so he wouldn’t have to come to town for several months more.

He was different from us citybred folks. He had never seen a train. Everybody laughed at him for even the smallest child in Eatonville had either been to Maitland or Orlando and watched a train go by. On Sunday afternoons all of the young people of the village would go over to Maitland, a mile away, to see Number 35 whizz southward on its way to Tampa and wave at the passengers. So we looked down on him a little. Even we children felt superior in the presence of a person so lacking in worldly knowledge.

The grown-ups kept telling him he ought to go see a train. He always said he didn’t have time to wait so long. Only two trains a day passed through Maitland. But patronage and ridicule finally had its effect and Old Man Anderson drove in one morning early. Number 78 went north to Jacksonville at 10:20. He drove his light wagon over in the woods beside the railroad below Maitland, and sat down to wait. He began to fear that his horse would get frightened and run away with the wagon. So he took him out and led him deeper into the grove and tied him securely. Then he returned to his wagon and waited some more. Then he remembered that some of the train-wise villagers had said the engine belched fire and smoke. He had better move his wagon out of danger. It might catch afire. He climbed down from the seat and placed himself between the shafts to draw it away. Just then 78 came thundering over the trestle spouting smoke, and suddenly began blowing for Maitland. Old Man Anderson became so frightened he ran away with the wagon through the woods and tore it up worse than the horse ever could have done. He doesn’t know yet what a train looks like, and says he doesn’t care.

VI
Coon Taylor

Coon Taylor never did any real stealing. Of course, if he saw a chicken or a watermelon or muskmelon or anything like that that he wanted he’d take it. The people used to get mad but they never could catch him. He took so many melons from Joe Clarke that he set up in the melon patch one night with his shotgun loaded with rock salt. He was going to fix Coon. But he was tired. It is hard work being a mayor, postmaster, storekeeper and everything. He dropped asleep sitting on a stump in the middle of the patch. So he didn’t see Coon when he came. Coon didn’t see him either, that is, not at first. He knew the stump was there, however. He had opened many of Clarke’s juicy Florida Favorite on it. He selected his fruit, walked over to the stump and burst the melon on it. That is, he thought it was the stump until it fell over with a yell. Then he knew it was no stump and departed hastily from those parts. He had cleared the fence when Clarke came to, as it were. So the charge of rock-salt was wasted on the desert air.

During the sugar-cane season, he found he couldn’t resist Clarke’s soft green cane, but Clarke did not go to sleep this time. So after he had cut six or eight stalks by the moonlight, Clarke rose up out of the cane strippings with his shotgun and made Coon sit right down and chew up the last one of them on the spot. And the next day he made Coon leave his town for three months.

VII
Village Fiction

Joe Lindsay is said by Lum Boger to be the largest manufacturer of prevarications in Eatonville; Brazzle (late owner of the world’s leanest and meanest mule) contends that his business is the largest in the state and his wife holds that he is the biggest liar in the world.

Exhibit A—He claims that while he was in Orlando one day he saw a doctor cut open a woman, remove everything—liver, lights and heart included—clean each of them separately; the doctor then washed out the empty woman, dried her out neatly with a towel and replaced the organs so expertly that she was up and about her work in a couple of weeks.

VIII

Sewell is a man who lives all to himself. He moves a great deal. So often, that ’Lige Moseley says his chickens are so used to moving that every time he comes out into his backyard the chickens lie down and cross their legs, ready to be tied up again.

He is baldheaded; but he says he doesn’t mind that, because he wants as little as possible between him and God.

IX

Mrs. Clarke is Joe Clarke’s wife. She is a soft-looking, middle-aged woman, whose bust and stomach are always holding a get-together.

She waits on the store sometimes and cries every time he yells at her which he does every time she makes a mistake, which is quite often. She calls her husband “Jody.” They say he used to beat her in the store when he was a young man, but he is not so impatient now. He can wait until he goes home.

She shouts in Church every Sunday and shakes the hand of fellowship with everybody in the Church with her eyes closed, but somehow always misses her husband.

X

Mrs. McDuffy goes to Church every Sunday and always shouts and tells her “determination.” Her husband always sits in the back row and beats her as soon as they get home. He says there’s no sense in her shouting, as big a devil as she is. She just does it to slur him. Elijah Moseley asked her why she didn’t stop shouting, seeing she always got a beating about it. She says she can’t “squinch the sperrit.” Then Elijah asked Mr. McDuffy to stop beating her, seeing that she was going to shout anyway. He answered that she just did it for spite and that his fist was just as hard as her head. He could last just as long as she. So the village let the matter rest.

XI
Double-Shuffle

Back in the good old days before the World War, things were very simple in Eatonville. People didn’t fox-trot. When the town wanted to put on its Sunday clothes and wash behind the ears, it put on a “breakdown.” The daring younger set would two-step and waltz, but the good church members and the elders stuck to the grand march. By rural canons dancing is wicked, but one is not held to have danced until the feet have been crossed. Feet don’t get crossed when one grand marches.

At elaborate affairs the organ from the Methodist church was moved up to the hall and Lizzimore, the blind man presided. When informal gatherings were held, he merely played his guitar assisted by any volunteer with mouth organs or accordions.

Among white people the march is as mild as if it had been passed on by Volstead. But it still has a kick in Eatonville. Everybody happy, shining eyes, gleaming teeth. Feet dragged ’shhlap, shhlap! to beat out the time. No orchestra needed. Round and round! Back again, parse-me-la! shlap! shlap! Strut! Strut! Seaboard! Shlap! Shlap! Tiddy bumm! Mr. Clarke in the lead with Mrs. Mosely.

It’s too much for some of the young folks. Double shuffling commences. Buck and wing. Lizzimore about to break his guitar. Accordion doing contortions. People fall back against the walls, and let the soloist have it, shouting as they clap the old, old double shuffle songs.

’Me an’ mah honey got two mo’ days
Two mo’ days tuh do de buck’

Sweating bodies, laughing mouths, grotesque faces, feet drumming fiercely. Deacons clapping as hard as the rest.

“Great big nigger, black as tar
Trying tuh git tuh hebben on uh ’lectric car.”

“Some love cabbage, some love kale
But I love a gal wid a short skirt tail.”

Long tall angel—steppin’ down,
Long white robe an’ starry crown.

’Ah would not marry uh black gal (bumm bumm!)
Tell yuh de reason why
Every time she comb her hair
She make de goo-goo eye.

Would not marry a yaller gal (bumm bumm!)
Tell yuh de reason why
Her neck so long an’ stringy
Ahm ’fraid she’d never die.

Would not marry uh preacher
Tell yuh de reason why
Every time he comes tuh town
He makes de chicken fly.

When the buck dance was over, the boys would give the floor to the girls and they would parse-me-la with a slye eye out of the corner to see if anybody was looking who might “have them up in church” on conference night. Then there would be more dancing. Then Mr. Clarke would call for everybody’s best attention and announce that ’freshments was served! Every gent’man would please take his lady by the arm and scorch her right up to de table fur a treat!

Then the men would stick their arms out with a flourish and ask their ladies: “You lak chicken? Well, then, take a wing.” And the ladies would take the proffered “wings” and parade up to the long table and be served. Of course most of them had brought baskets in which were heaps of jointed and fried chicken, two or three kinds of pies, cakes, potato pone and chicken purlo. The hall would separate into happy groups about the baskets until time for more dancing.

But the boys and girls got scattered about during the war, and now they dance the fox-trot by a brand new piano. They do waltz and two-step still, but no one now considers it good form to lock his chin over his partner’s shoulder and stick out behind. One night just for fun and to humor the old folks, they danced, that is, they grand marched, but everyone picked up their feet. Bah!!

XII
The Head of the Nail

Daisy Taylor was the town vamp. Not that she was pretty. But sirens were all but non-existent in the town. Perhaps she was forced to it by circumstances. She was quite dark, with little brushy patches of hair squatting over her head. These were held down by shingle-nails often. No one knows whether she did this for artistic effect or for lack of hair-pins, but there they were shining in the little patches of hair when she got all dressed for the afternoon and came up to Clarke’s store to see if there was any mail for her.

It was seldom that anyone wrote to Daisy, but she knew that the men of the town would be assembled there by five o’clock, and some one could usually be induced to buy her some soda water or peanuts.

Daisy flirted with married men. There were only two single men in town. Lum Boger, who was engaged to the assistant school-teacher, and Hiram Lester, who had been off to school at Tuskegee and wouldn’t look at a person like Daisy. In addition to other drawbacks, she was pigeon-toed and her petticoat was always showing so perhaps he was justified. There was nothing else to do except flirt with married men.

This went on for a long time. First one wife then another complained of her, or drove her from the preserves by threat.

But the affair with Crooms was the most prolonged and serious. He was even known to have bought her a pair of shoes.

Mrs. Laura Crooms was a meek little woman who took all of her troubles crying, and talked a great deal of leaving things in the hands of God.

The affair came to a head one night in orange picking time. Crooms was over at Oneido picking oranges. Many fruit pickers move from one town to the other during the season.

The town was collected at the store-postoffice as is customary on Saturday nights. The town has had its bath and with its week’s pay in pocket fares forth to be merry. The men tell stories and treat the ladies to soda-water, peanuts and peppermint candy.

Daisy was trying to get treats, but the porch was cold to her that night.

“Ah don’t keer if you don’t treat me. What’s a dirty lil nickel?” She flung this at Walter Thomas. “The everloving Mister Crooms will gimme anything atall Ah wants.”

“You better shet up yo’ mouf talking ’bout Albert Crooms. Heah his wife comes right now.”

Daisy went akimbo. “Who? Me! Ah don’t keer whut Laura Crooms think. If she ain’t a heavy hip-ted Mama enough to keep him, she don’t need to come crying to me.”

She stood making goo-goo eyes as Mrs. Crooms walked upon the porch. Daisy laughed loud, made several references to Albert Crooms, and when she saw the mail-bag come in from Maitland she said, “Ah better go in an’ see if Ah ain’t got a letter from Oneido.”

The more Daisy played the game of getting Mrs. Crooms’ goat, the better she liked it. She ran in and out of the store laughing until she could scarcely stand. Some of the people present began to talk to Mrs. Crooms—to egg her on to halt Daisy’s boasting, but she was for leaving it all in the hands of God. Walter Thomas kept on after Mrs. Crooms until she stiffened and resolved to fight. Daisy was inside when she came to this resolve and never dreamed anything of the kind could happen. She had gotten hold of an envelope and came laughing and shouting, “Oh, Ah can’t stand to see Oneido lose!”

There was a box of ax-handles on display on the porch, propped up against the door jamb. As Daisy stepped upon the porch, Mrs. Crooms leaned the heavy end of one of those handles heavily upon her head. She staggered from the porch to the ground and the timid Laura, fearful of a counter-attack, struck again and Daisy toppled into the town ditch. There was not enough water in there to do more than muss her up. Every time she tried to rise, down would come that ax-handle again. Laura was fighting a scared fight. With Daisy thoroughly licked, she retired to the store porch and left her fallen enemy in the ditch. None of the men helped Daisy—even to get out of the ditch. But Elijah Moseley, who was some distance down the street when the trouble began arrived as the victor was withdrawing. He rushed up and picked Daisy out of the mud and began feeling her head.

“Is she hurt much?” Joe Clarke asked from the doorway.

“I don’t know,” Elijah answered, “I was just looking to see if Laura had been lucky enough to hit one of those nails on the head and drive it in.”

Before a week was up, Daisy moved to Orlando. There in a wider sphere, perhaps, her talents as a vamp were appreciated.

XIII
Pants and Cal’line

Sister Cal’line Potts was a silent woman. Did all of her laughing down inside, but did the thing that kept the town in an uproar of laughter. It was the general opinion of the village that Cal’line would do anything she had a mind to. And she had a mind to do several things.

Mitchell Potts, her husband, had a weakness for women. No one ever believed that she was jealous. She did things to the women, surely. But most any townsman would have said that she did them because she liked the novel situation and the queer things she could bring out of it.

Once he took up with Delphine—called Mis’ Pheeny by the town. She lived on the outskirts on the edge of the piney woods. The town winked and talked. People don’t make secrets of such things in villages. Cal’line went about her business with her thin black lips pursed tight as ever, and her shiny black eyes unchanged.

“Dat devil of a Cal’line’s got somethin’ up her sleeve!” The town smiled in anticipation.

“Delphine is too big a cigar for her to smoke. She ain’t crazy,” said some as the weeks went on and nothing happened. Even Pheeny herself would give an extra flirt to her over-starched petticoats as she rustled into church past her of Sundays.

Mitch Potts said furthermore, that he was tired of Cal’line’s foolishness. She had to stay where he put her. His African soup-bone (arm) was too strong to let a woman run over him. ’Nough was ’nough. And he did some fancy cussing, and he was the fanciest cusser in the county.

So the town waited and the longer it waited, the odds changed slowly from the wife to the husband.

One Saturday, Mitch knocked off work at two o’clock and went over to Maitland. He came back with a rectangular box under his arm and kept straight on out to the barn and put it away. He ducked around the corner of the house quickly, but even so, his wife glimpsed the package. Very much like a shoe-box. So!

He put on the kettle and took a bath. She stood in her bare feet at the ironing board and kept on ironing. He dressed. It was about five o’clock but still very light. He fiddled around outside. She kept on with her ironing. As soon as the sun got red, he sauntered out to the barn, got the parcel and walked away down the road, past the store and out into the piney woods. As soon as he left the house. Cal’line slipped on her shoes without taking time to don stockings, put on one of her husband’s old Stetsons, worn and floppy, slung the axe over her shoulder and followed in his wake. He was hailed cheerily as he passed the sitters on the store porch and answered smiling sheepishly and passed on. Two minutes later passed his wife, silently, unsmilingly, and set the porch to giggling and betting.

An hour passed perhaps. It was dark. Clarke had long ago lighted the swinging kerosene lamp inside.

XIV

Once ’way back yonder before the stars fell all the animals used to talk just like people. In them days dogs and rabbits was the best of friends—even tho both of them was stuck on the same gal—which was Miss Nancy Coon. She had the sweetest smile and the prettiest striped and bushy tail to be found anywhere.

They both run their legs nigh off trying to win her for themselves—fetching nice ripe persimmons and such. But she never give one or the other no satisfaction.

Finally one night Mr. Dog popped the question right out. “Miss Coon,” he says, “Ma’am, also Ma’am which would you ruther be—a lark flyin’ or a dove a settin’?”

Course Miss Nancy she blushed and laughed a little and hid her face behind her bushy tail for a spell. Then she said sorter shy like, “I does love yo’ sweet voice, brother dawg—but—but I ain’t jes’ exactly set in my mind yit.”

Her and Mr. Dog set on a spell, when up comes hopping Mr. Rabbit wid his tail fresh washed and his whiskers shining. He got right down to business and asked Miss Coon to marry him, too.

“Oh, Miss Nancy,” he says, “Ma’am, also Ma’am, if you’d see me settin’ straddle of a mud-cat leadin’ a minnow, what would you think? Ma’am also Ma’am?” Which is a out and out proposal as everybody knows.

“Youse awful nice, Brother Rabbit and a beautiful dancer, but you cannot sing like Brother Dog. Both you uns come back next week to gimme time for to decide.”

They both left arm-in-arm. Finally Mr. Rabbit says to Mr. Dog. “Taint no use in me going back—she ain’t gwinter have me. So I mought as well give up. She loves singing, and I ain’t got nothing but a squeak.”

“Oh, don’t talk that a’ way,” says Mr. Dog, tho’ he is glad Mr. Rabbit can’t sing none.

“Thass all right, Brer Dog. But if I had a sweet voice like you got, I’d have it worked on and make it sweeter.”

“How! How! How!” Mr. Dog cried, jumping up and down. “Lemme fix it for you, like I do for Sister Lark and Sister Mocking-bird.”

“When? Where?” asked Mr. Dog, all excited. He was figuring that if he could sing just a little better Miss Coon would be bound to have him.

“Just you meet me t’morrer in de huckleberry patch,” says the rabbit and off they both goes to bed.

The dog is there on time next day and after a while the rabbit comes loping up.

“Mawnin’, Brer Dawg,” he says kinder chippy like. “Ready to git yo’ voice sweetened?”

“Sholy, sholy, Brer Rabbit. Let’s we all hurry about it. I wants tuh serenade Miss Nancy from de piney woods tuh night.”

“Well, den, open yo’ mouf and poke out yo’ tongue,” says the rabbit.

No sooner did Mr. Dog poke out his tongue than Mr. Rabbit split it with a knife and ran for all he was worth to a hollow stump and hid hisself.

The dog has been mad at the rabbit ever since.

Anybody who don’t believe it happened, just look at the dog’s tongue and he can see for himself where the rabbit slit it right up the middle.

Stepped on a tin, mah story ends.

Transcriber’s Notes

New original cover art included with this eBook is granted to the public domain.

Perceived punctuation errors have been silently corrected.

The section heading XIV has been added.

Otherwise spelling and hyphenation are as in the original.

*** END OF THE PROJECT GUTENBERG EBOOK THE EATONVILLE ANTHOLOGY ***

Updated editions will replace the previous one—the old editions will be renamed.

Creating the works from print editions not protected by U.S. copyright law means that no one owns a United States copyright in these works, so the Foundation (and you!) can copy and distribute it in the United States without permission and without paying copyright royalties. Special rules, set forth in the General Terms of Use part of this license, apply to copying and distributing Project Gutenberg™ electronic works to protect the PROJECT GUTENBERG™ concept and trademark. Project Gutenberg is a registered trademark, and may not be used if you charge for an eBook, except by following the terms of the trademark license, including paying royalties for use of the Project Gutenberg trademark. If you do not charge anything for copies of this eBook, complying with the trademark license is very easy. You may use this eBook for nearly any purpose such as creation of derivative works, reports, performances and research. Project Gutenberg eBooks may be modified and printed and given away—you may do practically ANYTHING in the United States with eBooks not protected by U.S. copyright law. Redistribution is subject to the trademark license, especially commercial redistribution.

START: FULL LICENSE

THE FULL PROJECT GUTENBERG™ LICENSE

PLEASE READ THIS BEFORE YOU DISTRIBUTE OR USE THIS WORK

To protect the Project Gutenberg™ mission of promoting the free distribution of electronic works, by using or distributing this work (or any other work associated in any way with the phrase “Project Gutenberg”), you agree to comply with all the terms of the Full Project Gutenberg License available with this file or online at www.gutenberg.org/license.

Section 1. General Terms of Use and Redistributing Project Gutenberg electronic works

1.A. By reading or using any part of this Project Gutenberg electronic work, you indicate that you have read, understand, agree to and accept all the terms of this license and intellectual property (trademark/copyright) agreement. If you do not agree to abide by all the terms of this agreement, you must cease using and return or destroy all copies of Project Gutenberg electronic works in your possession. If you paid a fee for obtaining a copy of or access to a Project Gutenberg electronic work and you do not agree to be bound by the terms of this agreement, you may obtain a refund from the person or entity to whom you paid the fee as set forth in paragraph 1.E.8.

1.B. “Project Gutenberg” is a registered trademark. It may only be used on or associated in any way with an electronic work by people who agree to be bound by the terms of this agreement. There are a few things that you can do with most Project Gutenberg electronic works even without complying with the full terms of this agreement. See paragraph 1.C below. There are a lot of things you can do with Project Gutenberg electronic works if you follow the terms of this agreement and help preserve free future access to Project Gutenberg electronic works. See paragraph 1.E below.

1.C. The Project Gutenberg Literary Archive Foundation (“the Foundation” or PGLAF), owns a compilation copyright in the collection of Project Gutenberg electronic works. Nearly all the individual works in the collection are in the public domain in the United States. If an individual work is unprotected by copyright law in the United States and you are located in the United States, we do not claim a right to prevent you from copying, distributing, performing, displaying or creating derivative works based on the work as long as all references to Project Gutenberg are removed. Of course, we hope that you will support the Project Gutenberg mission of promoting free access to electronic works by freely sharing Project Gutenberg works in compliance with the terms of this agreement for keeping the Project Gutenberg name associated with the work. You can easily comply with the terms of this agreement by keeping this work in the same format with its attached full Project Gutenberg License when you share it without charge with others.

1.D. The copyright laws of the place where you are located also govern what you can do with this work. Copyright laws in most countries are in a constant state of change. If you are outside the United States, check the laws of your country in addition to the terms of this agreement before downloading, copying, displaying, performing, distributing or creating derivative works based on this work or any other Project Gutenberg work. The Foundation makes no representations concerning the copyright status of any work in any country other than the United States.

1.E. Unless you have removed all references to Project Gutenberg:

1.E.1. The following sentence, with active links to, or other immediate access to, the full Project Gutenberg License must appear prominently whenever any copy of a Project Gutenberg work (any work on which the phrase “Project Gutenberg” appears, or with which the phrase “Project Gutenberg” is associated) is accessed, displayed, performed, viewed, copied or distributed:

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.

1.E.2. If an individual Project Gutenberg electronic work is derived from texts not protected by U.S. copyright law (does not contain a notice indicating that it is posted with permission of the copyright holder), the work can be copied and distributed to anyone in the United States without paying any fees or charges. If you are redistributing or providing access to a work with the phrase “Project Gutenberg” associated with or appearing on the work, you must comply either with the requirements of paragraphs 1.E.1 through 1.E.7 or obtain permission for the use of the work and the Project Gutenberg trademark as set forth in paragraphs 1.E.8 or 1.E.9.

1.E.3. If an individual Project Gutenberg electronic work is posted with the permission of the copyright holder, your use and distribution must comply with both paragraphs 1.E.1 through 1.E.7 and any additional terms imposed by the copyright holder. Additional terms will be linked to the Project Gutenberg License for all works posted with the permission of the copyright holder found at the beginning of this work.

1.E.4. Do not unlink or detach or remove the full Project Gutenberg License terms from this work, or any files containing a part of this work or any other work associated with Project Gutenberg.

1.E.5. Do not copy, display, perform, distribute or redistribute this electronic work, or any part of this electronic work, without prominently displaying the sentence set forth in paragraph 1.E.1 with active links or immediate access to the full terms of the Project Gutenberg License.

1.E.6. You may convert to and distribute this work in any binary, compressed, marked up, nonproprietary or proprietary form, including any word processing or hypertext form. However, if you provide access to or distribute copies of a Project Gutenberg work in a format other than “Plain Vanilla ASCII” or other format used in the official version posted on the official Project Gutenberg website (www.gutenberg.org), you must, at no additional cost, fee or expense to the user, provide a copy, a means of exporting a copy, or a means of obtaining a copy upon request, of the work in its original “Plain Vanilla ASCII” or other form. Any alternate format must include the full Project Gutenberg License as specified in paragraph 1.E.1.

1.E.7. Do not charge a fee for access to, viewing, displaying, performing, copying or distributing any Project Gutenberg works unless you comply with paragraph 1.E.8 or 1.E.9.

1.E.8. You may charge a reasonable fee for copies of or providing access to or distributing Project Gutenberg electronic works provided that:

- • You pay a royalty fee of 20% of the gross profits you derive from the use of Project Gutenberg works calculated using the method you already use to calculate your applicable taxes. The fee is owed to the owner of the Project Gutenberg trademark, but he has agreed to donate royalties under this paragraph to the Project Gutenberg Literary Archive Foundation. Royalty payments must be paid within 60 days following each date on which you prepare (or are legally required to prepare) your periodic tax returns. Royalty payments should be clearly marked as such and sent to the Project Gutenberg Literary Archive Foundation at the address specified in Section 4, “Information about donations to the Project Gutenberg Literary Archive Foundation.”

- • You provide a full refund of any money paid by a user who notifies you in writing (or by e-mail) within 30 days of receipt that s/he does not agree to the terms of the full Project Gutenberg™ License. You must require such a user to return or destroy all copies of the works possessed in a physical medium and discontinue all use of and all access to other copies of Project Gutenberg™ works.

- • You provide, in accordance with paragraph 1.F.3, a full refund of any money paid for a work or a replacement copy, if a defect in the electronic work is discovered and reported to you within 90 days of receipt of the work.

- • You comply with all other terms of this agreement for free distribution of Project Gutenberg™ works.

1.E.9. If you wish to charge a fee or distribute a Project Gutenberg™ electronic work or group of works on different terms than are set forth in this agreement, you must obtain permission in writing from the Project Gutenberg Literary Archive Foundation, the manager of the Project Gutenberg™ trademark. Contact the Foundation as set forth in Section 3 below.

1.F.

1.F.1. Project Gutenberg volunteers and employees expend considerable effort to identify, do copyright research on, transcribe and proofread works not protected by U.S. copyright law in creating the Project Gutenberg™ collection. Despite these efforts, Project Gutenberg™ electronic works, and the medium on which they may be stored, may contain “Defects,” such as, but not limited to, incomplete, inaccurate or corrupt data, transcription errors, a copyright or other intellectual property infringement, a defective or damaged disk or other medium, a computer virus, or computer codes that damage or cannot be read by your equipment.

1.F.2. LIMITED WARRANTY, DISCLAIMER OF DAMAGES - Except for the “Right of Replacement or Refund” described in paragraph 1.F.3, the Project Gutenberg Literary Archive Foundation, the owner of the Project Gutenberg™ trademark, and any other party distributing a Project Gutenberg™ electronic work under this agreement, disclaim all liability to you for damages, costs and expenses, including legal fees. YOU AGREE THAT YOU HAVE NO REMEDIES FOR NEGLIGENCE, STRICT LIABILITY, BREACH OF WARRANTY OR BREACH OF CONTRACT EXCEPT THOSE PROVIDED IN PARAGRAPH 1.F.3. YOU AGREE THAT THE FOUNDATION, THE TRADEMARK OWNER, AND ANY DISTRIBUTOR UNDER THIS AGREEMENT WILL NOT BE LIABLE TO YOU FOR ACTUAL, DIRECT, INDIRECT, CONSEQUENTIAL, PUNITIVE OR INCIDENTAL DAMAGES EVEN IF YOU GIVE NOTICE OF THE POSSIBILITY OF SUCH DAMAGE.

1.F.3. LIMITED RIGHT OF REPLACEMENT OR REFUND - If you discover a defect in this electronic work within 90 days of receiving it, you can receive a refund of the money (if any) you paid for it by sending a written explanation to the person you received the work from. If you received the work on a physical medium, you must return the medium with your written explanation. The person or entity that provided you with the defective work may elect to provide a replacement copy in lieu of a refund. If you received the work electronically, the person or entity providing it to you may choose to give you a second opportunity to receive the work electronically in lieu of a refund. If the second copy is also defective, you may demand a refund in writing without further opportunities to fix the problem.

1.F.4. Except for the limited right of replacement or refund set forth in paragraph 1.F.3, this work is provided to you ‘AS-IS’, WITH NO OTHER WARRANTIES OF ANY KIND, EXPRESS OR IMPLIED, INCLUDING BUT NOT LIMITED TO WARRANTIES OF MERCHANTABILITY OR FITNESS FOR ANY PURPOSE.

1.F.5. Some states do not allow disclaimers of certain implied warranties or the exclusion or limitation of certain types of damages. If any disclaimer or limitation set forth in this agreement violates the law of the state applicable to this agreement, the agreement shall be interpreted to make the maximum disclaimer or limitation permitted by the applicable state law. The invalidity or unenforceability of any provision of this agreement shall not void the remaining provisions.

1.F.6. INDEMNITY - You agree to indemnify and hold the Foundation, the trademark owner, any agent or employee of the Foundation, anyone providing copies of Project Gutenberg™ electronic works in accordance with this agreement, and any volunteers associated with the production, promotion and distribution of Project Gutenberg™ electronic works, harmless from all liability, costs and expenses, including legal fees, that arise directly or indirectly from any of the following which you do or cause to occur: (a) distribution of this or any Project Gutenberg work, (b) alteration, modification, or additions or deletions to any Project Gutenberg work, and (c) any Defect you cause.

Section 2. Information about the Mission of Project Gutenberg

Project Gutenberg is synonymous with the free distribution of electronic works in formats readable by the widest variety of computers including obsolete, old, middle-aged and new computers. It exists because of the efforts of hundreds of volunteers and donations from people in all walks of life.

Volunteers and financial support to provide volunteers with the assistance they need are critical to reaching Project Gutenberg’s goals and ensuring that the Project Gutenberg collection will remain freely available for generations to come. In 2001, the Project Gutenberg Literary Archive Foundation was created to provide a secure and permanent future for Project Gutenberg and future generations. To learn more about the Project Gutenberg Literary Archive Foundation and how your efforts and donations can help, see Sections 3 and 4 and the Foundation information page at www.gutenberg.org.

Section 3. Information about the Project Gutenberg Literary Archive Foundation

The Project Gutenberg Literary Archive Foundation is a non-profit 501(c)(3) educational corporation organized under the laws of the state of Mississippi and granted tax exempt status by the Internal Revenue Service. The Foundation’s EIN or federal tax identification number is 64-6221541. Contributions to the Project Gutenberg Literary Archive Foundation are tax deductible to the full extent permitted by U.S. federal laws and your state’s laws.

The Foundation’s business office is located at 41 Watchung Plaza #516, Montclair NJ 07042, USA, +1 (862) 621-9288. Email contact links and up to date contact information can be found at the Foundation’s website and official page at www.gutenberg.org/contact

Section 4. Information about Donations to the Project Gutenberg Literary Archive Foundation

Project Gutenberg™ depends upon and cannot survive without widespread public support and donations to carry out its mission of increasing the number of public domain and licensed works that can be freely distributed in machine-readable form accessible by the widest array of equipment including outdated equipment. Many small donations ($1 to $5,000) are particularly important to maintaining tax exempt status with the IRS.

The Foundation is committed to complying with the laws regulating charities and charitable donations in all 50 states of the United States. Compliance requirements are not uniform and it takes a considerable effort, much paperwork and many fees to meet and keep up with these requirements. We do not solicit donations in locations where we have not received written confirmation of compliance. To SEND DONATIONS or determine the status of compliance for any particular state visit www.gutenberg.org/donate.

While we cannot and do not solicit contributions from states where we have not met the solicitation requirements, we know of no prohibition against accepting unsolicited donations from donors in such states who approach us with offers to donate.

International donations are gratefully accepted, but we cannot make any statements concerning tax treatment of donations received from outside the United States. U.S. laws alone swamp our small staff.

Please check the Project Gutenberg web pages for current donation methods and addresses. Donations are accepted in a number of other ways including checks, online payments and credit card donations. To donate, please visit: www.gutenberg.org/donate.

Section 5. General Information About Project Gutenberg electronic works

Professor Michael S. Hart was the originator of the Project Gutenberg concept of a library of electronic works that could be freely shared with anyone. For forty years, he produced and distributed Project Gutenberg eBooks with only a loose network of volunteer support.

Project Gutenberg eBooks are often created from several printed editions, all of which are confirmed as not protected by copyright in the U.S. unless a copyright notice is included. Thus, we do not necessarily keep eBooks in compliance with any particular paper edition.

Most people start at our website which has the main PG search facility: www.gutenberg.org.

This website includes information about Project Gutenberg, including how to make donations to the Project Gutenberg Literary Archive Foundation, how to help produce our new eBooks, and how to subscribe to our email newsletter to hear about new eBooks.

Table of Contents

- THE EATONVILLE ANTHOLOGY
- I The Pleading Woman
- II Turpentine Love
- III
- IV Tippy
- V The Way of a Man with a Train
- VI Coon Taylor
- VII Village Fiction
- VIII
- IX
- X
- XI Double-Shuffle
- XII The Head of the Nail
- XIII Pants and Cal’line
- XIV
- THE FULL PROJECT GUTENBERG™ LICENSE