The man I am waiting for overtook me two miles east of this place. He was hurrying to catch his train. He took me into his rig and made the bargain. He turned his horse over to me and raced for the last car as we neared the station. So here I am a few yards from the depot, in front of the general store, watching the horse of an utter stranger. Of course the horse isn't worth stealing, and his harness is half twine and wire. But the whole episode is so careless and free and Kansas-like.
Most of the crowd have gone, and I am awfully hungry. I might steal off the harness in the dark, and eat it. Somehow I have not quite the nerve to beg where I expect to harvest. I am afraid to try again in this fight with the sun, yet when a man overtakes me in the road and trusts me with his best steed and urges me to work for him, I hardly know how to refuse.
Sunday Afternoon, July 21, 1912. Loafing and dozing on my bed in the granary on the farm near Wright, Kansas, where I have been harvesting a full week.
The man I waited for last Sunday afternoon returned with his full quota of hands on the "Plug" train about nine o'clock. Where was I to sleep? I began to think about a lumber pile I had seen, when I discovered that five other farmers had climbed off that train. They were poking around in all the dark corners for men just like me. I engaged with a German named Louis Lix for the whole week, all the time shaking with misgivings from the memory of my last break-down. Here it is, Sunday, before I know it. Lix wants me back again next year, and is sorry I will not work longer. I have totalled about sixteen days of harvesting in Kansas, and though I sagged in the middle I think I have ended in fair style. Enclosed find all my wages except enough for one day's stay at Dodge City and three real hotel meals there—sherbet and cheese and crackers, and finger bowls at the end, and all such folly. Harvest eating is grand in its way but somehow lacks frills. Ah, if eating were as much in my letters as in my thoughts, this would be nothing but a series of menus!
I have helped Lix harvest barley, oats and wheat, mainly wheat. This is the world of wheat. In this genial region one can stand on a soap-box and see nothing else to the horizon. Walking the Santa Fé Trail beside the railroad means walking till the enormous wheat-elevator behind one disappears because of the curvature of the earth, like the ships in the geography picture, and walking on and on till finally in the west the top of another elevator appears, being gradually revealed because this earth is not flat like a table, but, as the geography says, curved like an apple or an orange.
In these fields, instead of working a reaper with a sickle eight feet long, they work a header with a twelve-foot sickle. Instead of four horses to this machine, there are six. Instead of one man or two following behind to the left of the driver to pile sheaves into shocks, a barge, a most copious slatted receptacle, drives right beside the header, catching the unbound wheat which is thrown up loosely by the machine. One pitchfork man in the barge spreads this cataract of headed wheat so a full load can be taken in. His partner guides the team, keeping precisely with the header.
But these two bargemen do not complete the outfit. Two others with their barge or "header-box" come up behind as soon as the first box starts over to the stack to be unloaded. Here the sixth man, the stacker, receives it, and piles it into a small mountain nicely calculated to resist cyclones. The green men are broken in as bargemen. The stacker is generally an old hand.
Unloading the wheat is the hardest part of the bargeman's work. His fork must be full and he must be fast. Otherwise his partner, who takes turns driving and filling, and who helps to pitch the wheat out, will have more than half the pitching to do. And all the time will be used up. Neither man will have a rest-period while waiting for the other barge to come up. This rest-period is the thing toward which we all wrestle. If we save it out we drink from the water-jugs in the corner of the wagon. We examine where the grasshoppers have actually bitten little nicks out of our pitchfork handles, nicks that are apt to make blisters. We tell our adventures and, when the header breaks down, and must be tinkered endlessly, and we have a grand rest, the stacker sings a list of the most amazing cowboy songs. He is a young man, yet rode the range here for seven years before it became wheat-country. One day when the songs had become hopelessly, prosaically pornographic I yearned for a change. I quoted the first stanza of Atalanta's chorus:
"When the hounds of Spring are on Winter's traces,
The mother of months, in meadow or plain,
Fills the shadows and windy places
With lisp of leaves and ripple of rain——"
The stacker asked for more. I finished the chorus. Then I repeated it several times, while the header was being mended. We had to get to work. The next morning when my friend climbed into our barge to ride to the field he began: