Other editions of book Bayou Folk

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Kate Chopin was one of the most individual and adventurous of nineteenth-century American writers, whose fiction explored new and often startling territory. From her first stories, Chopin was interested in independent characters who challenged convention. This collection of short stories was first published in 1895 by which time Chopin had achieved a fine reputation as a regional realist. With a gentle, knowing gaze, Chopin evoked the distant world of Louisiana plantations and 'Cadian balls, and anticipated the thoroughly modern multi-ethnic, gender-sensitive, and sexually charged world of more modern times. Check out our other books at www.dogstailbooks.co.uk

What Harding & Offdean had called a piece of land on Red River was better known to the people of Natchitoches parish as "the old Santien place." In the days of Lucien Santien and his hundred slaves, it had been very splendid in the wealth of its thousand acres. But the war did its work, of course. Then Jules Santien was not the man to mend such damage as the war had left. His three sons were even less able than he had been to bear the weighty inheritance of debt that came to them with the dismantled plantation; so it was a deliverance to all when Harding & Offdean, the New Orleans creditors, relieved them of the place with the responsibility and indebtedness which its ownership had entailed. Hector, the eldest, and Grégoire, the youngest of these Santien boys, had gone each his way. Placide alone tried to keep a desultory foothold upon the land which had been his and his forefathers'. But he too was given to wandering—within a radius, however, which rarely took him so far that he could not reach the old place in an afternoon of travel, when he felt so inclined. There were acres of open land cultivated in a slovenly fashion, but so rich that cotton and corn and weed and "cocoa-grass" grew rampant if they had only the semblance of a chance. The negro quarters were at the far end of this open stretch, and consisted of a long row of old and very crippled cabins. Directly back of these a dense wood grew, and held much mystery, and witchery of sound and shadow, and strange lights when the sun shone. Of a gin-house there was left scarcely a trace; only so much as could serve as inadequate shelter to the miserable dozen cattle that huddled within it in winter-time. A dozen rods or more from the Red River bank stood the dwelling-house, and nowhere upon the plantation had time touched so sadly as here. The steep, black, moss-covered roof sat like an extinguisher above the eight large rooms that it covered, and had come to do its office so poorly that not more than half of these were habitable when the rain fell. Perhaps the live-oaks made too thick and close a shelter about it. The verandas were long and broad and inviting; but it was well to know that the brick pillar was crumbling away under one corner, that the railing was insecure at another, and that still another had long ago been condemned as unsafe. But that, of course, was not the corner in which Wallace Offdean sat the day following his arrival at the Santien place. This one was comparatively secure. A gloire-de-Dijon, thick-leaved and charged with huge creamy blossoms, grew and spread here like a hardy vine upon the wires that stretched from post to post. The scent of the blossoms was delicious; and the stillness that surrounded Offdean agreeably fitted his humor that asked for rest. His old host, Pierre Manton, the manager of the place, sat talking to him in a soft, rhythmic monotone; but his speech was hardly more of an interruption than the hum of the bees among the roses. He was saying:— "If it would been me myse'f, I would nevair grumb'. W'en a chimbly breck, I take one, two de boys; we patch 'im up bes' we know how. We keep on men' de fence', firs' one place, anudder; an' if it would n' be fer dem mule' of Lacroix—tonnerre! I don' wan' to talk 'bout dem mule'. But me, I would n' grumb'. It's Euphrasie, hair. She say dat's all fool nonsense fer rich man lack Hardin'-Offde'n to let a piece o' lan' goin' lack dat." "Euphrasie?" questioned Offdean, in some surprise; for he had not yet heard of any such person. "Euphrasie, my li'le chile. Escuse me one minute," Pierre added, remembering that he was in his shirt-sleeves, and rising to reach for his coat, which hung upon a peg near by. He was a small, square man, with mild, kindly face, brown and roughened from healthy exposure. His hair hung gray and long beneath the soft felt hat that he wore.

A wonderful short story by Kate Chopin about the power of love allowing a person to break free of the phobias and bonds that bind them. This story can often be found online, or in collections of Kate Chopin stories such as The Awakening and Selected Stories Kate Chopin, born Katherine O'Flaherty (February 8, 1850 – August 22, 1904), was a U.S. author of short stories and novels. She is now considered by some[who?] to have been a forerunner of the feminist authors of the 20th century of Southern or Catholic background, such as Zelda Fitzgerald. From 1892 to 1895, she wrote short stories for both children and adults that were published in such magazines as Atlantic Monthly, Vogue, The Century Magazine, and The Youth's Companion. Her major works were two short story collections, Bayou Folk (1894) and A Night in Acadie (1897). Her important short stories included "Désirée’s Baby," a tale of miscegenation in antebellum Louisiana (published in 1893), "The Story of an Hour" (1894), and "The Storm"(1898). "The Storm" is a sequel to "The 'Cadian Ball," which appeared in her first collection of short stories, Bayou Folk. Chopin also wrote two novels: At Fault (1890) and The Awakening (1899), which are set in New Orleans and Grand Isle, respectively. The characters in her stories are usually inhabitants of Louisiana. Many of her works are set in Natchitoches in north central Louisiana.

This is a pre-1923 historical reproduction that was curated for quality. Quality assurance was conducted on each of these books in an attempt to remove books with imperfections introduced by the digitization process. Though we have made best efforts - the books may have occasional errors that do not impede the reading experience. We believe this work is culturally important and have elected to bring the book back into print as part of our continuing commitment to the preservation of printed works worldwide.

One agreeable afternoon in late autumn two young men stood together on Canal Street, closing a conversation that had evidently begun within the club-house which they had just quitted. "There's big money in it, Offdean," said the elder of the two. "I would n't have you touch it if there was n't. Why, they tell me Patchly 's pulled a hundred thousand out of the concern a'ready." "That may be," replied Offdean, who had been politely attentive to the words addressed to him, but whose face bore a look indicating that he was closed to conviction. He leaned back upon the clumsy stick which he carried, and continued: "It's all true, I dare say, Fitch; but a decision of that sort would mean more to me than you'd believe if I were to tell you. The beggarly twenty-five thousand's all I have, and I want to sleep with it under my pillow a couple of months at least before I drop it into a slot."

This is a pre-1923 historical reproduction that was curated for quality. Quality assurance was conducted on each of these books in an attempt to remove books with imperfections introduced by the digitization process. Though we have made best efforts - the books may have occasional errors that do not impede the reading experience. We believe this work is culturally important and have elected to bring the book back into print as part of our continuing commitment to the preservation of printed works worldwide. This text refers to the Bibliobazaar edition.

ONE agreeable afternoon in late autumn two young men stood together on Canal Street, closing a conversation that had evidently begun within the club-house which they had just quitted. "There 's big money in it, Offdean," said the elder of the two. "I would n't have you touch it if there was n't. Why, they tell me Patchly 's pulled a hundred thousand out of the concern a'ready." "That may be," replied Offdean, who had been politely attentive to the words addressed to him, but whose face bore a look indicating that he was closed to conviction. He leaned back upon the clumsy stick which he carried, and continued: "It 's all true, I dare say, Fitch; but a decision of that sort would mean more to me than you 'd believe if I were to tell you. The beggarly twenty-five thousand 's all I have, and I want to sleep with it under my pillow a couple of months at least before I drop it into a slot." "You 'll drop it into Harding & Offdean's mill to grind out the pitiful two and a half per cent commission racket; that 's what you 'll do in the end, old fellow - see if you don't." "Perhaps I shall; but it 's more than likely I shan't. We 'll talk about it when I get back. You know I 'm off to north Louisiana in the morning" -

Kate Chopin (born Katherine O’Flaherty) (1850-1904) was an American author of short stories and novels, mostly of a Louisiana Creole background. She is now considered to have been a forerunner of feminist authors of the 20th century. From 1889 to 1902, she wrote short stories for both children and adults which were published in such magazines as Atlantic Monthly, Vogue, The Century, and Harper’s Youth’s Companion. Her major works were two short story collections, Bayou Folk (1894) and A Night in Acadie (1897). Her important short stories included The Father of Désirée’s Baby, a tale of miscegenation in antebellum Louisiana; The Story of an Hour and The Storm. Chopin also wrote two novels: At Fault (1890) and The Awakening (1899), which is set in New Orleans and Grand Isle. The people in her stories are usually inhabitants of Louisiana. Many of her works are set about Natchitoches in north central Louisiana. In time, literary critics determined that Chopin addressed the concerns of women in all places and for all times in her literature.

This is a pre-1923 historical reproduction that was curated for quality. Quality assurance was conducted on each of these books in an attempt to remove books with imperfections introduced by the digitization process. Though we have made best efforts - the books may have occasional errors that do not impede the reading experience. We believe this work is culturally important and have elected to bring the book back into print as part of our continuing commitment to the preservation of printed works worldwide. This text refers to the Bibliobazaar edition.