Джек Лондон
Love of Life and Other Stories

“I say,” Walt broke in, “it is remarkable the way he lets you handle him.”

Skiff Miller arose, no longer awkward with admiration of Madge, and in a sharp, businesslike manner asked, “How long have you had him?”

But just then the dog, squirming and rubbing against the newcomer’s legs, opened his mouth and barked. It was an explosive bark, brief and joyous, but a bark.

“That’s a new one on me,” Skiff Miller remarked.

Walt and Madge stared at each other. The miracle had happened. Wolf had barked.

“It’s the first time he ever barked,” Madge said.

“First time I ever heard him, too,” Miller volunteered.

Madge smiled at him. The man was evidently a humorist.

“Of course,” she said, “since you have only seen him for five minutes.”

Skiff Miller looked at her sharply, seeking in her face the guile her words had led him to suspect.

“I thought you understood,” he said slowly. “I thought you’d tumbled to it from his makin’ up to me. He’s my dog. His name ain’t Wolf. It’s Brown.”

“Oh, Walt!” was Madge’s instinctive cry to her husband.

Walt was on the defensive at once.

“How do you know he’s your dog?” he demanded.

“Because he is,” was the reply.

“Mere assertion,” Walt said sharply.

In his slow and pondering way, Skiff Miller looked at him, then asked, with a nod of his head toward Madge:

“How d’you know she’s your wife? You just say, ‘Because she is,’ and I’ll say it’s mere assertion. The dog’s mine. I bred ’m an’ raised ’m, an’ I guess I ought to know. Look here. I’ll prove it to you.”

Skiff Miller turned to the dog. “Brown!” His voice rang out sharply, and at the sound the dog’s ears flattened down as to a caress. “Gee!” The dog made a swinging turn to the right. “Now mush-on!” And the dog ceased his swing abruptly and started straight ahead, halting obediently at command.

“I can do it with whistles,” Skiff Miller said proudly. “He was my lead dog.”

“But you are not going to take him away with you?” Madge asked tremulously.

The man nodded.

“Back into that awful Klondike world of suffering?”

He nodded and added: “Oh, it ain’t so bad as all that. Look at me. Pretty healthy specimen, ain’t I?”

“But the dogs! The terrible hardship, the heart-breaking toil, the starvation, the frost! Oh, I’ve read about it and I know.”

“I nearly ate him once, over on Little Fish River,” Miller volunteered grimly. “If I hadn’t got a moose that day was all that saved ’m.”

“I’d have died first!” Madge cried.

“Things is different down here,” Miller explained. “You don’t have to eat dogs. You think different just about the time you’re all in. You’ve never ben all in, so you don’t know anything about it.”

“That’s the very point,” she argued warmly. “Dogs are not eaten in California. Why not leave him here? He is happy. He’ll never want for food-you know that. He’ll never suffer from cold and hardship. Here all is softness and gentleness. Neither the human nor nature is savage. He will never know a whip-lash again. And as for the weather-why, it never snows here.”

“But it’s all-fired hot in summer, beggin’ your pardon,” Skiff Miller laughed.

“But you do not answer,” Madge continued passionately. “What have you to offer him in that northland life?”

“Grub, when I’ve got it, and that’s most of the time,” came the answer.

“And the rest of the time?”

“No grub.”

“And the work?”

“Yes, plenty of work,” Miller blurted out impatiently. “Work without end, an’ famine, an’ frost, an all the rest of the miseries-that’s what he’ll get when he comes with me. But he likes it. He is used to it. He knows that life. He was born to it an’ brought up to it. An’ you don’t know anything about it. You don’t know what you’re talking about. That’s where the dog belongs, and that’s where he’ll be happiest.”

“The dog doesn’t go,” Walt announced in a determined voice. “So there is no need of further discussion.”

“What’s that?” Skiff Miller demanded, his brows lowering and an obstinate flush of blood reddening his forehead.

“I said the dog doesn’t go, and that settles it. I don’t believe he’s your dog. You may have seen him sometime. You may even sometime have driven him for his owner. But his obeying the ordinary driving commands of the Alaskan trail is no demonstration that he is yours. Any dog in Alaska would obey you as he obeyed. Besides, he is undoubtedly a valuable dog, as dogs go in Alaska, and that is sufficient explanation of your desire to get possession of him. Anyway, you’ve got to prove property.”

Skiff Miller, cool and collected, the obstinate flush a trifle deeper on his forehead, his huge muscles bulging under the black cloth of his coat, carefully looked the poet up and down as though measuring the strength of his slenderness.

The Klondiker’s face took on a contemptuous expression as he said finally, “I reckon there’s nothin’ in sight to prevent me takin’ the dog right here an’ now.”

Walt’s face reddened, and the striking-muscles of his arms and shoulders seemed to stiffen and grow tense. His wife fluttered apprehensively into the breach.

“Maybe Mr. Miller is right,” she said. “I am afraid that he is. Wolf does seem to know him, and certainly he answers to the name of ‘Brown.’ He made friends with him instantly, and you know that’s something he never did with anybody before. Besides, look at the way he barked. He was just bursting with joy. Joy over what? Without doubt at finding Mr. Miller.”

Walt’s striking-muscles relaxed, and his shoulders seemed to droop with hopelessness.

“I guess you’re right, Madge,” he said. “Wolf isn’t Wolf, but Brown, and he must belong to Mr. Miller.”

“Perhaps Mr. Miller will sell him,” she suggested. “We can buy him.”

Skiff Miller shook his head, no longer belligerent, but kindly, quick to be generous in response to generousness.

“I had five dogs,” he said, casting about for the easiest way to temper his refusal. “He was the leader. They was the crack team of Alaska. Nothin’ could touch ’em. In 1898 I refused five thousand dollars for the bunch. Dogs was high, then, anyway; but that wasn’t what made the fancy price. It was the team itself. Brown was the best in the team. That winter I refused twelve hundred for ’m. I didn’t sell ’m then, an’ I ain’t a-sellin’ ’m now. Besides, I think a mighty lot of that dog. I’ve ben lookin’ for ’m for three years. It made me fair sick when I found he’d ben stole-not the value of him, but the-well, I liked ’m like hell, that’s all, beggin’ your pardon. I couldn’t believe my eyes when I seen ’m just now. I thought I was dreamin’. It was too good to be true. Why, I was his wet-nurse. I put ’m to bed, snug every night. His mother died, and I brought ’m up on condensed milk at two dollars a can when I couldn’t afford it in my own coffee. He never knew any mother but me. He used to suck my finger regular, the darn little cuss-that finger right there!”

And Skiff Miller, too overwrought for speech, held up a fore finger for them to see.

“That very finger,” he managed to articulate, as though it somehow clinched the proof of ownership and the bond of affection.

He was still gazing at his extended finger when Madge began to speak.

“But the dog,” she said. “You haven’t considered the dog.”

Skiff Miller looked puzzled.

“Have you thought about him?” she asked.

“Don’t know what you’re drivin’ at,” was the response.

“Maybe the dog has some choice in the matter,” Madge went on. “Maybe he has his likes and desires. You have not considered him. You give him no choice. It has never entered your mind that possibly he might prefer California to Alaska. You consider only what you like. You do with him as you would with a sack of potatoes or a bale of hay.”

This was a new way of looking at it, and Miller was visibly impressed as he debated it in his mind. Madge took advantage of his indecision.

“If you really love him, what would be happiness to him would be your happiness also,” she urged.

Skiff Miller continued to debate with himself, and Madge stole a glance of exultation to her husband, who looked back warm approval.

“What do you think?” the Klondiker suddenly demanded.

It was her turn to be puzzled. “What do you mean?” she asked.

“D’ye think he’d sooner stay in California?”

She nodded her head with positiveness. “I am sure of it.”

Skiff Miller again debated with himself, though this time aloud, at the same time running his gaze in a judicial way over the mooted animal.

“He was a good worker. He’s done a heap of work for me. He never loafed on me, an’ he was a joe-dandy at hammerin’ a raw team into shape. He’s got a head on him. He can do everything but talk. He knows what you say to him. Look at ’m now. He knows we’re talkin’ about him.”

The dog was lying at Skiff Miller’s feet, head close down on paws, ears erect and listening, and eyes that were quick and eager to follow the sound of speech as it fell from the lips of first one and then the other.

“An’ there’s a lot of work in ’m yet. He’s good for years to come. An’ I do like him. I like him like hell.”

Once or twice after that Skiff Miller opened his mouth and closed it again without speaking. Finally he said:

“I’ll tell you what I’ll do. Your remarks, ma’am, has some weight in them. The dog’s worked hard, and maybe he’s earned a soft berth an’ has got a right to choose. Anyway, we’ll leave it up to him. Whatever he says, goes. You people stay right here settin’ down. I’ll say good-by and walk off casual-like. If he wants to stay, he can stay. If he wants to come with me, let ’m come. I won’t call ’m to come an’ don’t you call ’m to come back.”

He looked with sudden suspicion at Madge, and added, “Only you must play fair. No persuadin’ after my back is turned.”

“We’ll play fair,” Madge began, but Skiff Miller broke in on her assurances.

“I know the ways of women,” he announced. “Their hearts is soft. When their hearts is touched they’re likely to stack the cards, look at the bottom of the deck, an’ lie like the devil-beggin’ your pardon, ma’am. I’m only discoursin’ about women in general.”

“I don’t know how to thank you,” Madge quavered.

“I don’t see as you’ve got any call to thank me,” he replied. “Brown ain’t decided yet. Now you won’t mind if I go away slow? It’s no more’n fair, seein’ I’ll be out of sight inside a hundred yards.”-Madge agreed, and added, “And I promise you faithfully that we won’t do anything to influence him.”

“Well, then, I might as well be gettin’ along,” Skiff Miller said in the ordinary tones of one departing.

At this change in his voice, Wolf lifted his head quickly, and still more quickly got to his feet when the man and woman shook hands. He sprang up on his hind legs, resting his fore paws on her hip and at the same time licking Skiff Miller’s hand. When the latter shook hands with Walt, Wolf repeated his act, resting his weight on Walt and licking both men’s hands.

“It ain’t no picnic, I can tell you that,” were the Klondiker’s last words, as he turned and went slowly up the trail.

For the distance of twenty feet Wolf watched him go, himself all eagerness and expectancy, as though waiting for the man to turn and retrace his steps. Then, with a quick low whine, Wolf sprang after him, overtook him, caught his hand between his teeth with reluctant tenderness, and strove gently to make him pause.

Failing in this, Wolf raced back to where Walt Irvine sat, catching his coat-sleeve in his teeth and trying vainly to drag him after the retreating man.

Wolf’s perturbation began to wax. He desired ubiquity. He wanted to be in two places at the same time, with the old master and the new, and steadily the distance between them was increasing. He sprang about excitedly, making short nervous leaps and twists, now toward one, now toward the other, in painful indecision, not knowing his own mind, desiring both and unable to choose, uttering quick sharp whines and beginning to pant.

He sat down abruptly on his haunches, thrusting his nose upward, the mouth opening and closing with jerking movements, each time opening wider. These jerking movements were in unison with the recurrent spasms that attacked the throat, each spasm severer and more intense than the preceding one. And in accord with jerks and spasms the larynx began to vibrate, at first silently, accompanied by the rush of air expelled from the lungs, then sounding a low, deep note, the lowest in the register of the human ear. All this was the nervous and muscular preliminary to howling.

But just as the howl was on the verge of bursting from the full throat, the wide-opened mouth was closed, the paroxysms ceased, and he looked long and steadily at the retreating man. Suddenly Wolf turned his head, and over his shoulder just as steadily regarded Walt. The appeal was unanswered. Not a word nor a sign did the dog receive, no suggestion and no clew as to what his conduct should be.

A glance ahead to where the old master was nearing the curve of the trail excited him again. He sprang to his feet with a whine, and then, struck by a new idea, turned his attention to Madge. Hitherto he had ignored her, but now, both masters failing him, she alone was left. He went over to her and snuggled his head in her lap, nudging her arm with his nose-an old trick of his when begging for favors. He backed away from her and began writhing and twisting playfully, curvetting and prancing, half rearing and striking his fore paws to the earth, struggling with all his body, from the wheedling eyes and flattening ears to the wagging tail, to express the thought that was in him and that was denied him utterance.

This, too, he soon abandoned. He was depressed by the coldness of these humans who had never been cold before. No response could he draw from them, no help could he get. They did not consider him. They were as dead.

He turned and silently gazed after the old master. Skiff Miller was rounding the curve. In a moment he would be gone from view. Yet he never turned his head, plodding straight onward, slowly and methodically, as though possessed of no interest in what was occurring behind his back.

And in this fashion he went out of view. Wolf waited for him to reappear. He waited a long minute, silently, quietly, without movement, as though turned to stone-withal stone quick with eagerness and desire. He barked once, and waited. Then he turned and trotted back to Walt Irvine. He sniffed his hand and dropped down heavily at his feet, watching the trail where it curved emptily from view.

The tiny stream slipping down the mossy-lipped stone seemed suddenly to increase the volume of its gurgling noise. Save for the meadow-larks, there was no other sound. The great yellow butterflies drifted silently through the sunshine and lost themselves in the drowsy shadows. Madge gazed triumphantly at her husband.

A few minutes later Wolf got upon his feet. Decision and deliberation marked his movements. He did not glance at the man and woman. His eyes were fixed up the trail. He had made up his mind. They knew it. And they knew, so far as they were concerned, that the ordeal had just begun.

He broke into a trot, and Madge’s lips pursed, forming an avenue for the caressing sound that it was the will of her to send forth. But the caressing sound was not made. She was impelled to look at her husband, and she saw the sternness with which he watched her. The pursed lips relaxed, and she sighed inaudibly.

Wolf’s trot broke into a run. Wider and wider were the leaps he made. Not once did he turn his head, his wolf’s brush standing out straight behind him. He cut sharply across the curve of the trail and was gone.

THE SUN-DOG TRAIL

Sitka Charley smoked his pipe and gazed thoughtfully at the Police Gazette illustration on the wall. For half an hour he had been steadily regarding it, and for half an hour I had been slyly watching him. Something was going on in that mind of his, and, whatever it was, I knew it was well worth knowing. He had lived life, and seen things, and performed that prodigy of prodigies, namely, the turning of his back upon his own people, and, in so far as it was possible for an Indian, becoming a white man even in his mental processes. As he phrased it himself, he had come into the warm, sat among us, by our fires, and become one of us. He had never learned to read nor write, but his vocabulary was remarkable, and more remarkable still was the completeness with which he had assumed the white man’s point of view, the white man’s attitude toward things.

We had struck this deserted cabin after a hard day on trail. The dogs had been fed, the supper dishes washed, the beds made, and we were now enjoying that most delicious hour that comes each day, and but once each day, on the Alaskan trail, the hour when nothing intervenes between the tired body and bed save the smoking of the evening pipe. Some former denizen of the cabin had decorated its walls with illustrations torn from magazines and newspapers, and it was these illustrations that had held Sitka Charley’s attention from the moment of our arrival two hours before. He had studied them intently, ranging from one to another and back again, and I could see that there was uncertainty in his mind, and bepuzzlement.

“Well?” I finally broke the silence.

He took the pipe from his mouth and said simply, “I do not understand.”

He smoked on again, and again removed the pipe, using it to point at the Police Gazette illustration.

“That picture-what does it mean? I do not understand.”

I looked at the picture. A man, with a preposterously wicked face, his right hand pressed dramatically to his heart, was falling backward to the floor. Confronting him, with a face that was a composite of destroying angel and Adonis, was a man holding a smoking revolver.

“One man is killing the other man,” I said, aware of a distinct bepuzzlement of my own and of failure to explain.

“Why?” asked Sitka Charley.

“I do not know,” I confessed.

“That picture is all end,” he said. “It has no beginning.”

“It is life,” I said.

“Life has beginning,” he objected.

I was silenced for the moment, while his eyes wandered on to an adjoining decoration, a photographic reproduction of somebody’s “Leda and the Swan.”

“That picture,” he said, “has no beginning. It has no end. I do not understand pictures.”

“Look at that picture,” I commanded, pointing to a third decoration. “It means something. Tell me what it means to you.”

He studied it for several minutes.

“The little girl is sick,” he said finally. “That is the doctor looking at her. They have been up all night-see, the oil is low in the lamp, the first morning light is coming in at the window. It is a great sickness; maybe she will die, that is why the doctor looks so hard. That is the mother. It is a great sickness, because the mother’s head is on the table and she is crying.”

“How do you know she is crying?” I interrupted. “You cannot see her face. Perhaps she is asleep.”

Sitka Charley looked at me in swift surprise, then back at the picture. It was evident that he had not reasoned the impression.

“Perhaps she is asleep,” he repeated. He studied it closely. “No, she is not asleep. The shoulders show that she is not asleep. I have seen the shoulders of a woman who cried. The mother is crying. It is a very great sickness.”

“And now you understand the picture,” I cried.

He shook his head, and asked, “The little girl-does it die?”

It was my turn for silence.

“Does it die?” he reiterated. “You are a painter-man. Maybe you know.”

“No, I do not know,” I confessed.

“It is not life,” he delivered himself dogmatically. “In life little girl die or get well. Something happen in life. In picture nothing happen. No, I do not understand pictures.”

His disappointment was patent. It was his desire to understand all things that white men understand, and here, in this matter, he failed. I felt, also, that there was challenge in his attitude. He was bent upon compelling me to show him the wisdom of pictures. Besides, he had remarkable powers of visualization. I had long since learned this. He visualized everything. He saw life in pictures, felt life in pictures, generalized life in pictures; and yet he did not understand pictures when seen through other men’s eyes and expressed by those men with color and line upon canvas.

“Pictures are bits of life,” I said. “We paint life as we see it. For instance, Charley, you are coming along the trail. It is night. You see a cabin. The window is lighted. You look through the window for one second, or for two seconds, you see something, and you go on your way. You saw maybe a man writing a letter. You saw something without beginning or end. Nothing happened. Yet it was a bit of life you saw. You remember it afterward. It is like a picture in your memory. The window is the frame of the picture.”

I could see that he was interested, and I knew that as I spoke he had looked through the window and seen the man writing the letter.

“There is a picture you have painted that I understand,” he said. “It is a true picture. It has much meaning. It is in your cabin at Dawson. It is a faro table. There are men playing. It is a large game. The limit is off.”

“How do you know the limit is off?” I broke in excitedly, for here was where my work could be tried out on an unbiassed judge who knew life only, and not art, and who was a sheer master of reality. Also, I was very proud of that particular piece of work. I had named it “The Last Turn,” and I believed it to be one of the best things I had ever done.

“There are no chips on the table,” Sitka Charley explained. “The men are playing with markers. That means the roof is the limit. One man play yellow markers-maybe one yellow marker worth one thousand dollars, maybe two thousand dollars. One man play red markers. Maybe they are worth five hundred dollars, maybe one thousand dollars. It is a very big game. Everybody play very high, up to the roof. How do I know? You make the dealer with blood little bit warm in face.” (I was delighted.) “The lookout, you make him lean forward in his chair. Why he lean forward? Why his face very much quiet? Why his eyes very much bright? Why dealer warm with blood a little bit in the face? Why all men very quiet?-the man with yellow markers? the man with white markers? the man with red markers? Why nobody talk? Because very much money. Because last turn.”

“How do you know it is the last turn?” I asked.

“The king is coppered, the seven is played open,” he answered. “Nobody bet on other cards. Other cards all gone. Everybody one mind. Everybody play king to lose, seven to win. Maybe bank lose twenty thousand dollars, maybe bank win. Yes, that picture I understand.”

“Yet you do not know the end!” I cried triumphantly. “It is the last turn, but the cards are not yet turned. In the picture they will never be turned. Nobody will ever know who wins nor who loses.”

“And the men will sit there and never talk,” he said, wonder and awe growing in his face. “And the lookout will lean forward, and the blood will be warm in the face of the dealer. It is a strange thing. Always will they sit there, always; and the cards will never be turned.”

“It is a picture,” I said. “It is life. You have seen things like it yourself.”

He looked at me and pondered, then said, very slowly: “No, as you say, there is no end to it. Nobody will ever know the end. Yet is it a true thing. I have seen it. It is life.”

For a long time he smoked on in silence, weighing the pictorial wisdom of the white man and verifying it by the facts of life. He nodded his head several times, and grunted once or twice. Then he knocked the ashes from his pipe, carefully refilled it, and after a thoughtful pause, lighted it again.

“Then have I, too, seen many pictures of life,” he began; “pictures not painted, but seen with the eyes. I have looked at them like through the window at the man writing the letter. I have seen many pieces of life, without beginning, without end, without understanding.”

With a sudden change of position he turned his eyes full upon me and regarded me thoughtfully.

“Look you,” he said; “you are a painter-man. How would you paint this which I saw, a picture without beginning, the ending of which I do not understand, a piece of life with the northern lights for a candle and Alaska for a frame.”

“It is a large canvas,” I murmured.

But he ignored me, for the picture he had in mind was before his eyes and he was seeing it.

“There are many names for this picture,” he said. “But in the picture there are many sun-dogs, and it comes into my mind to call it ‘The Sun-Dog Trail.’ It was a long time ago, seven years ago, the fall of ’97, when I saw the woman first time. At Lake Linderman I had one canoe, very good Peterborough canoe. I came over Chilcoot Pass with two thousand letters for Dawson. I was letter carrier. Everybody rush to Klondike at that time. Many people on trail. Many people chop down trees and make boats. Last water, snow in the air, snow on the ground, ice on the lake, on the river ice in the eddies. Every day more snow, more ice. Maybe one day, maybe three days, maybe six days, any day maybe freeze-up come, then no more water, all ice, everybody walk, Dawson six hundred miles, long time walk. Boat go very quick. Everybody want to go boat. Everybody say, ‘Charley, two hundred dollars you take me in canoe,’ ‘Charley, three hundred dollars,’ ‘Charley, four hundred dollars.’ I say no, all the time I say no. I am letter carrier.

“In morning I get to Lake Linderman. I walk all night and am much tired. I cook breakfast, I eat, then I sleep on the beach three hours. I wake up. It is ten o’clock. Snow is falling. There is wind, much wind that blows fair. Also, there is a woman who sits in the snow alongside. She is white woman, she is young, very pretty, maybe she is twenty years old, maybe twenty-five years old. She look at me. I look at her. She is very tired. She is no dance-woman. I see that right away. She is good woman, and she is very tired.

“‘You are Sitka Charley,’ she says. I get up quick and roll blankets so snow does not get inside. ‘I go to Dawson,’ she says. ‘I go in your canoe-how much?’

“I do not want anybody in my canoe. I do not like to say no. So I say, ‘One thousand dollars.’ Just for fun I say it, so woman cannot come with me, much better than say no. She look at me very hard, then she says, ‘When you start?’ I say right away. Then she says all right, she will give me one thousand dollars.

“What can I say? I do not want the woman, yet have I given my word that for one thousand dollars she can come. I am surprised. Maybe she make fun, too, so I say, ‘Let me see thousand dollars.’ And that woman, that young woman, all alone on the trail, there in the snow, she take out one thousand dollars, in greenbacks, and she put them in my hand. I look at money, I look at her. What can I say? I say, ‘No, my canoe very small. There is no room for outfit.’ She laugh. She says, ‘I am great traveller. This is my outfit.’ She kick one small pack in the snow. It is two fur robes, canvas outside, some woman’s clothes inside. I pick it up. Maybe thirty-five pounds. I am surprised. She take it away from me. She says, ‘Come, let us start.’ She carries pack into canoe. What can I say? I put my blankets into canoe. We start.

“And that is the way I saw the woman first time. The wind was fair. I put up small sail. The canoe went very fast, it flew like a bird over the high waves. The woman was much afraid. ‘What for you come Klondike much afraid?’ I ask. She laugh at me, a hard laugh, but she is still much afraid. Also is she very tired. I run canoe through rapids to Lake Bennett. Water very bad, and woman cry out because she is afraid. We go down Lake Bennett, snow, ice, wind like a gale, but woman is very tired and go to sleep.

“That night we make camp at Windy Arm. Woman sit by fire and eat supper. I look at her. She is pretty. She fix hair. There is much hair, and it is brown, also sometimes it is like gold in the firelight, when she turn her head, so, and flashes come from it like golden fire. The eyes are large and brown, sometimes warm like a candle behind a curtain, sometimes very hard and bright like broken ice when sun shines upon it. When she smile-how can I say?-when she smile I know white man like to kiss her, just like that, when she smile. She never do hard work. Her hands are soft, like baby’s hand. She is soft all over, like baby. She is not thin, but round like baby; her arm, her leg, her muscles, all soft and round like baby. Her waist is small, and when she stand up, when she walk, or move her head or arm, it is-I do not know the word-but it is nice to look at, like-maybe I say she is built on lines like the lines of a good canoe, just like that, and when she move she is like the movement of the good canoe sliding through still water or leaping through water when it is white and fast and angry. It is very good to see.

“Why does she come into Klondike, all alone, with plenty of money? I do not know. Next day I ask her. She laugh and says: ‘Sitka Charley, that is none of your business. I give you one thousand dollars take me to Dawson. That only is your business.’ Next day after that I ask her what is her name. She laugh, then she says, ‘Mary Jones, that is my name.’ I do not know her name, but I know all the time that Mary Jones is not her name.

“It is very cold in canoe, and because of cold sometimes she not feel good. Sometimes she feel good and she sing. Her voice is like a silver bell, and I feel good all over like when I go into church at Holy Cross Mission, and when she sing I feel strong and paddle like hell. Then she laugh and says, ‘You think we get to Dawson before freeze-up, Charley?’ Sometimes she sit in canoe and is thinking far away, her eyes like that, all empty. She does not see Sitka Charley, nor the ice, nor the snow. She is far away. Very often she is like that, thinking far away. Sometimes, when she is thinking far away, her face is not good to see. It looks like a face that is angry, like the face of one man when he want to kill another man.