Stewart Edward White

Stewart Edward White

Summary

Portrait of Stewart Edward White Stewart Edward White The Killer

I have the greatest respect for a mule. He knows more than the horse; just as the goose or the duck knows more than the chicken. Six days the mules on the ranch laboured; but on the seventh they were turned out into the pastures to rest and roll and stand around gossiping sociably, rubbing their long, ridiculous Roman noses together, or switching the flies off one another with their tasselled tails. Each evening at sunset all the various teams came in from different directions, converging at the lane, and plodding dustily up its length to the sheds and their night's rest.
Source: Gutenberg

Portrait of Stewart Edward White Stewart Edward White The Killer

The immensity of the Arizona country, especially at dusk when the mountains withdraw behind their veils and mystery flows into the bottomlands, has always a panoramic quality that throws small any human-sized activities. The ranch houses and their attendant trees look like toys; the bands of cattle and the men working them are as though viewed through the reverse lenses of a glass; and the very details of mesquite or sacatone flats, of alkali shallow or of oak grove are blended into broad washes of tone.
Source: Gutenberg

Portrait of Stewart Edward White Stewart Edward White The Killer

But now the distant, galloping horse with its swaying mannikin charging on the ranch seemed to fill our world. The great forces of portent that hover aloof in the dusk of the desert stooped as with a rush of wings. The peaceful, wide spaces and the veiled hills and the brooding skies were swept clear. Crisis filled our souls: crisis laid her hand on every living moving thing in the world, stopping it in its tracks so that the very infinities for a brief, weird period seemed poised over the running horse and the swaying, fumbling man.
Source: Gutenberg

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