"You've just finished painting it."
Chet Ball held it in his great hand and stared at it for a brief moment, struggling between anger and amusement. And between anger and amusement he put it down on the table none too gently and stood up, yawning a little.
"That's a hell of a job for a he-man!" Then in utter contrition: "Oh, beggin' your pardon! That was fierce! I didn't——"
But there was nothing shocked about the expression on Miss Kate's face. She was registering joy—pure joy.
The Maternal Feminine [1919]
Called upon to describe Aunt Sophy, you would have to coin a term or fall back on the dictionary definition of a spinster. "An unmarried woman," states that worthy work, baldly, "especially when no longer young." That, to the world, was Sophy Decker. Unmarried, certainly. And most certainly no longer young. In figure, she was, at fifty, what is known in the corset ads as a "stylish stout." Well dressed in dark suits, with broad-toed health shoes and a small, astute hat. The suit was practical common sense. The health shoes were comfort. The hat was strictly business. Sophy Decker made and sold hats, both astute and ingenuous, to the female population of Chippewa, Wisconsin. Chippewa's East End set bought the knowing type of hat, and the mill hands and hired girls bought the naive ones. But whether lumpy or possessed of that thing known as line, Sophy Decker's hats were honest hats.
The world is full of Aunt Sophys, unsung. Plump, ruddy, capable women of middle age. Unwed, and rather looked down upon by a family of married sisters and tolerant, good-humored brothers-in-law, and careless nieces and nephews.
"Poor Aunt Soph," with a significant half smile. "She's such a good old thing. And she's had so little in life, really."
She was, undoubtedly, a good old thing—Aunt Soph. Forever sending a model hat to this pert little niece in Seattle; or taking Adele, Sister Flora's daughter, to Chicago or New York as a treat on one of her buying trips.