“ It was at this juncture so hopeful for the coops of Smith, that Smith did a foolish thing. Yielding to the appeals of his trainer, Smith let that worthy man put up a chicken of his own to face the Esslein entry for the eighth duel. It was a gorgeous shawl-neck that Smith's trainer produced; eye bright as a diamond, and beak like some arrow-head of jet. His legs looked as strong as a hod-carrier's. It was a horse to a hen, so everybody said, that the Esslein chicken,—which was but a small, indifferent bird,—would lose its life, the battle, and the main at one and the same time. ”
Alfred Henry Lewis
Summary
Alfred Henry Lewis’s Sandburrs is set in the fictional town of Wolfville, a microcosm of rugged individualism and simmering conflict. Focused on characters like Anna Marie, Riley Bent, and John Sparrowhawk, the narrative explores themes of gender roles, regional dialect, and the tension between tradition and modernity.
Through episodic stories of duels, romantic entanglements, and social upheaval, Lewis critiques societal norms with a mix of humor and irony. The novel’s vivid dialogue and eccentric characters—such as the brawling chicken fighters and the pragmatic George Maurice St. John—highlight its interest in human folly and the absurdities of frontier life, portraying Wolfville as both a stage and a metaphor for larger cultural struggles.
Quotes from Sandburrs (Alfred Henry Lewis)
“ Are you injured? Why do you cry for help?” It was George Maurice St. John who asked the question. As he did so, he caught Angelina McLaurin in his powerful arms, while the Angora cat, his worst fears now realised, chased himself down the hall with tail excited to lamp-cleaner size. “What is it, love?” asked George Maurice St. John, as he tenderly unloaded his delicious burden onto a sofa, “Speak! it is the voice of your George who bids you. Has any one dared to insult the coming bride of a St. John?” “Bear with me, George!” she whispered. “Believe me, I will be better anon!” ”
“ I am going to give it up. I am afraid, as father says, I am 'not built right.'” And thus it ended. Marie is exceedingly the olden woman now. She has beaten her sword into a pruning-hook, her bike into a spinning-wheel! She no longer walks with long, decided stride. She is a woman in all things, and will scream and chase a street car as if it were the last going that way for a week, like the tenderest and frailest of her kind. She has retracted as to bloomers. Anna Marie has returned to the agency, and forever abandoned the warpath of a new and manly womanhood. ”
