Summary

Portrait of Sherwood Anderson Sherwood Anderson Horses and Men: Tales, long and short…

It seemed to her that every passing minute was heavily freighted with possibilities of evil for herself. In the surrey, coming out from Bidwell, she had remained silent, filled with vague fears and Maud Welliver was also silent. In a way she wished May had not come. Alone with Grover Hunt on such a night, she felt she might have had something to say, but all the time, in her mind floated vague visions of May—alone in the wood with Jerome Hadley, May struggling for life there, in the darkness of the field on that other night—and grasping the hand of a prince.
Source: Gutenberg

Portrait of Sherwood Anderson Sherwood Anderson Horses and Men: Tales, long and short…

She knew nothing of poets and their efforts, of the things they live to try to do, of things men try to paint into canvasses, translate into song. She was an Ohio woman, an Edgley, the daughter of a teamster, the sister of Lillian Edgley who had gone on the turf. May expected to walk into a new world, into life—she expected to bathe herself in the living waters of life. There was to be something warm, close, comforting, secure. Hands were to arise out of darkness and grasp her hands, her hands covered with the stain of red berries and the yellow dust of fields.
Source: Gutenberg

Portrait of Sherwood Anderson Sherwood Anderson Horses and Men: Tales, long and short…

She was afraid of everything human. “It all comes to something ugly and terrible,” she thought frantically.
May ran for nearly two miles, along the beach, among the tree stumps, the roots of which stuck up into the air like arms raised in supplication to the moon. Perhaps the dry withered old tree arms, sticking up thus, kept her physical fear alive, as it is not likely Sid Gould’s drunken companions followed her far. She ran clinging to Lillian Edgley’s hat—she had borrowed without permission—and that, I presume, seemed a thing of beauty to her.
Source: Gutenberg

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