"Joyce," she said, briskly, "don't you suppose we could afford some cookies while the oven is hot? I haven't baked anything for so long that I believe it would do me good to stir around in the kitchen awhile. I'll make some gingersnaps, and cut them out in fancy shapes, with a boy and girl apiece for the children, as I always used to make. Are there any raisins for the eyes and mouths?"
It seemed so much like old times that Joyce sprang up to give her mother a squeeze. "That will be lovely!" she cried, heartily. "Here's an apron, and I'll beat the eggs and help you."
"No, I want to do it all myself," Mrs. Ware protested. "And I want you to take your sketching outfit, and go down to the clump of willows where Jack put the rustic bench for me. There are lovely reflections in the irrigating canal now, and the shadows are so soft that you ought to get a very pretty picture. You haven't drawn any since we left home, and I'm afraid your hand will forget its cunning if you never practise."
"What's the use," was on the tip of Joyce's tongue, but she could not dim the smile on her mother's face by her own hopeless mood, and presently she took her box of water-colours and started off to the seat under the willows. Mary and Norman, like two muddy little beavers, were using their Saturday afternoon playtime in building a dam across the lateral that watered the side yard. Joyce stood watching them a moment.
"What's the use of your doing that?" she asked, impatiently. "It can't stay there. You'll have to tear it down when you stop playing, and then there'll be all your work for nothing."
"We don't care, do we, Norman?" answered Mary, cheerfully. "It's fun while we're doing it, isn't it, Norman?"
As Joyce walked on, Mary's lively chatter followed her, and she could hear her mother singing as she moved about the kitchen. She was glad that they were all happy, but somehow it irritated her to feel that she was the only discontented one. It made her lonely. She opened her box and spread out her material, but she was in no mood for painting. She couldn't get the right shade of green in the willows, and the reflections in the water were blotchy.
"It's no use to try," she said, finally. "Mamma was right. My hand has already lost its cunning."
Leaning back on the rustic seat, she began idly tracing profiles on the paper, scarcely conscious of what she was doing. People's faces at first, then the outline of Camelback Mountain. Abstractedly, time after time, she traced it with slow sweeps of her brush until more than a score of kneeling camels looked back at her from the sheet of paper.
Presently a cough just behind her aroused her from her fit of abstraction, and, turning hastily, she saw Mr. Ellestad, the old Norwegian, coming toward her along the little path from the house. He had been almost a daily visitor at the Wigwam since they moved into it, not always coming in, usually stopping for only a moment's chat under the pepper-trees, as he strolled by. But several times he had spent an entire morning with them, reading aloud, while Joyce ironed and her mother sewed, and Norman built block houses on the floor beside them. Once he had taken tea with them. He rarely came without bringing a book or a new magazine, or something of interest. And even when he was empty-handed, his unfailing cheerfulness made his visits a benefaction. Mary and Norman called him "Uncle Jan," such a feeling of kinship had grown up between them.