"The Bishop's Vagabond"

• Second story in Knitters in the Sun.
• Originally published in January of 1884 in Atlantic Monthly.
• Class commentary (use of the word "cracker" to describe Demming, and definition provided): "The vagabond seemed to belong to the class known as “crackers”.  Poverty, sickness, and laziness were written in every flutter of his rags, in every uncouth curve or angel of his long, gaunt figure and sallow face" (p. 57).
• Race commentary: Demming lies to get a coffin for his neighbor, Mose Barnwell.
• Commentary on the idealized South (see below) as depicted in novels (Louise & Martin discussion).
• The story appeared in January of 1884, which is the same year McMichael identifies as the first trip to Arkansas (which would have been summer of 1884).
• Setting: Aiken, South Carolina

Louise (Bishop’s daughter) and Colonel Martin Talboys are talking at the start of the story. On pages 56 and 57, there’s a good bit of talk about the south. Specifically, Louise mentions that her experience of Southern manor houses and plantations has always been a bit of a letdown:

I expected to see the real Southern mansions of the novelists, with enormous piazzas and Corinthian pillars and beautiful avenues; and the white-washed cabins of the negroes in the middle distance; and the planter, in a white linen suit and a wide sraw hat, sitting on the piazza drinking mint juleps. Well, I don’t really think I expected the planter, but I did hope for the house. Nothing of the kind. All I saw was a moderate-sized square house, with piazzas and a flat roof, all sadly in need of paint. Now, I’m like Betsey Prig; ‘I don’t believe there’s no sich person.’ It’s a myth, like the good old Southern cooking (p. 56).

Martin assures her:

Oh, they do exist . . .There are houses in Charleston and Beaufort and on the Lower Mississippi that suggest the novels; but, on the whole, I think the novelists have played us false. We expect to find the ruins of luxury and splendor and all that sort of thing in the South; put in point of fact there was very little luxury about Southern life. (p. 56).

This exchange is interesting for multiple reasons. In terms of the story, Louise rejects Talboys in part because she finds him uninteresting and too short (the name is punny for that reason). Secondly, in Thanet’s own fiction, she more often focuses on the lower classes and those in rural Arkansas than she does any sort of idealized plantation imagery.
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The main plot summary:
Demming (the vagabond) constantly lies and gets money out of Louise’s father, the Bishop. The story opens with such a lie about his wife dying and his need of a coffin. We find out, upon the Bishop, Louise, and Talboys visiting his cabin, that the wife is quite alive; the coffin was for a black neighbor, Mose Barnwell, whose wife had passed (p. 68).

The Bishop and Demming make up, and it turns out that Demming has a relative in Charleston who has left him property and sent him money to travel there. After spending all of his money at the pub buying rounds, Demming is rescued by Talboys who is leaving town after Louise rejected him (Talboys buys Demming a new train ticket).
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The train collides with a freight train and in the wreck Demming breaks his leg. The bishop is trapped and no axe is on the train. Talboys runs to get one, and arrives just in time as Demming is prepared to shoot the bishop to prevent him from suffering. Talboys gets the bishop free, and the three return to Aiken. Demming has surgery to amputate his leg, but he dies after he patches things up between Louise and Talboys.
Louise promises Demming that they will look after his wife.

McMichael notes that the story is remarkable for the use of ​​​

conventions of other local color fiction filled with romance and strange people in a unique setting, it was hardened with dialect that often required explanatory footnotes to lead readers through the jungles of apostrophes and phonetic approximations. It was Alice’s first use of extensive dialect transcriptions, and it revealed not only her attempts at realism but also the perseverance and tolerance that magazine writers and editors could expect from their readers (pp. 93-94).