Idylls of the Skillet Fork — Reading Notes
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Ever b’en Whar a mockin’-bird was tunin’ up ’is fiddle? It’s a riddle
How ’e symfonizes ev’ry sort o’ noise An’ employs A composer’s subterfujes (ez ye’ve noted) Single throated. Wal, I seen one settin’ up thar (knowed ’twas him) On a limb Of a deadish kind o’ ellum, ’n’ I could tell Jes’ ez well
’T ’e was cockyer than a roarin’ swearin’ pirate By the high rate He was thrashin’ o’ them wings o’ his, an’ tail Like a flail. First I tho’t I was a-list’nin’ tew a martin Sure for sartin; Then a blue-jay almos’ give me ’n awful shock With ’is squawk;
I was jest a-gittin’ used ter hearin’ that bird, When a cat-bird Started in ter yowl an’ sputter, julluk Tabby When she’s gabby; Then some swallers, chickadees, an’ whippoorwills Give me thrills, An’ I tell ye I was altergether foozled, Jes’ bamboozled,
Ez I watched that clever cynnic keep a-rockin’ An’ a-mockin’, Till at last he got so bubbly full o’ fizz Thet ’e riz Off thet lonely perch o’ his’n right up square Int’ the air, Still a-swingin’ an’ a-singin’ in ’is revel Like the devil!
Then ’e come ri’ down agin an’ hit the spot Whar ’e’d sot; Hadn’t lost a single note—jes’ kep’ ’er goin’ ’S if he’s mowin’.
Dew ye reckon I’ll fergit thet garrylus Little cuss? Wal, ye got anuther “reckon” comin’ then— Mebbe ten.
They’s a hull snarl o’ potes hez driveled ’bout Joon With its leefyness, freshness an’ greenth; ’N’ if I was anuther, I s’pose—which I ain’t— I’d be the four umpty an’ steenth.
Ez regards ter the Skillet—wal, pardner, b’leeve me, It’s right in its prime, buggosh; Yew kin talk all yer wanter, it’s fine ter jes’ sawnter An’ look at ol’ Nacher a-slosh.
I was thar spell ago—druv sixteen mile With Bill an’ a load o’ soy beans; An’ I swar ter the Dooce thet I never hed knowed Afore what _greenin’_ means.
Be’n a-rainin’ like sin, but hed then faired up An’ the sky was julluk a gentian; I ain’t never knew sich a hevvenly blue, Ef ye’ll ’low me in passin’ ter mention.
The river was full, plum full ter the top, A matter o’ thirty odd feet, An’ the water hed backed ont’ the bottoms right smart, But was dreenin’ off fast with the heat.
’Twas a sarpent o’ choc’lit a-rithin’ an’ twistin’ Ri’ down a arborial tunnel; An’ Bill ’e sez, “Naow, ef we hed a ol’ scaow, We could flote ter Noorleans thru a funnel!”
But the way them fiel’s was enjoyin’ thersel’s! They was fairly yellin’ with glee; I reckon I must ’a’ be’n pretty high keyed, An’ I tell ye it jes’ got me.
I kind o’ suspishun Bill heerd suthin’ tew, Fer a exstasy hit ’im like pain; It looked like fer sure he was feelin’ the lure O’ the siren thet sings after rain.
Will’s drove ter Keene’s fer ’nockerlated seed; Queer, ain’t it, ’bout thet nitrigin—_Down Rover!_ Will sez we git mos’ twict ez much o’ feed Fer growin’ them thar teeny warts on clover....
Uh huh.... We’re limin’ tew; Will sez the sile Hez soured bad an’ needs a “alkali”.... I do’ know what ’tis—never heerd it—I’ll Ax him; on sich like words I’m kind o’ shy....
Malviny? Reely? Throwed anuther fit? Yew better call, I reckon, Docter Mott; Seems like she’s gittin’ old enuff ter quit— Will sez he ’lows it’s jes’ plain fits she’s got.
Our Duroc “Iphijeny” ’s littered ... eight.... Jes’ walkin’ cherries! My, but how they’ll grow! Will’s figg’rin’ now on what’ll be the’r weight Come Fall; he sez our corn’s a-runnin’ low....
D’yew say it’s yaller? Prob’ly got “damp feet”; Will sez alfalfy’ll do thet when’t’s tew wet.... The way it gits ter rain _is_ hard ter beat; But then, Will sez it ain’t no use ter fret....
No, couldn’t go las’ night—set up fer Nell; Vern Rowell druv ’er out—seemed like all night; ’Twas nine afore they come.... He means reel well, But Will he sez the Rowells ain’t quite right....
She _was_? She’s led the singin’ awful good; I never tho’t she’d be baptized; Will sez— _O Willie! Git right off!_—He’s clum the wood Pile; that ’ar’ way he’ll _fall_—Lan’ sakes, he _hez_!
“Four Mile” was jes’ kind o’ googlin’ along (It ketches the Skillet in “Thirty-three” Whar the woods is thick an’ the moon ain’t strong, An’ the ’possum hides in a holler tree); ’T was shimmerin’ thar all gold an’ bright Ez we loafed threw the medder thet Awtum night.
We’d et a light supper—sow belly, corn bread, Pickled beets, fried eggs an’ two kinds o’ pie— When Bill, sort o’ cazuel, shoved back an’ said, A-squintin’ aloft at a perfec’ sky: “’S a pretty good night fer coons; so still Yer kin hear yer heart when yer’ve clum up hill.”
I sensed what he meant, so I flaxed around, An’ in less ’n no time we was out on the trail. Bill’s houn’ dawg, ol’ Jess, was sniffin’ the ground Pertendin’ tew ax, “Is it ’possum or quail?” Tho’ she knowed well enough thet a Hunter’s Moon Don’t never mean nuthin’ ’cept ’possum or coon.
I’ve heerd tell o’ moonlights on earth here an’ thar, In Venice, an’ down in ol’ Rome’s Colyseum; But gim _me_ the light of our lunary star When dew turns ter di’monds in Frost’s jubileum; When the ’simmons is ripe, an’ not a leaf stirs, An’ the fiel’s is jes’ drownded in silvery blurs!
We was strollin’ ’long “Four Mile” when suddenly Jess With a sharp, quick yelp shot off threw the bresh. Jehosaphat, pard, I gotta confess How a houn’ dawg’s tonguin’ will quicken the flesh! For over a hour me ’n Bill snook along, An’ never got tired o’ foll’rin’ thet song.
She was pawin’ a tree when we seen ’er at last, A-yelpin’ an’ whinin’ jessif she’s possessed. ’T was a gum, thick an’ solid, an’ big ez a mast, An’ ’fore I could speak Bill was down tew ’is vest. Some chopper is Bill, an’ I sure never seen A tree cut cleaner—nor ha’f ez clean.
All shiny an’ white like a human kid Thet ’possum looked when we hauled ’er out! I felt like ’t was murder, I suttenly did, But Bill ’e sez, “Now, keep a eye on ’er snout; She’ll ac’ ’z if she’s daid ez long ez it’s curled, An’ don’t ye leggo of ’er—not fer the world.”
When we reached “Four Mile” we sed down ter rest, Completely bewitched by thet orb in the West. We was talkin’ ’bout Injuns, an’ _seein’_ ’em tew, When I noticed, by jing, that ’ar ’possum hed blew!
Few months ago, I ’member well, me’n Bill Was settin’ by the cattle wat’rin’-trough A-lis’nin’ tew the steers thet skwudged around The muddy yard an’ chawed the’r cuds an’ sighed. A bunch o’ smallish hogs hed quit the’r rootin’ An’ packed the’rsel’s up close agin the fence, An’ yew’d ’a’ laft ter hear ’em goin’ ter sleep. Ef one the runts was squeezed a mite tew much By ’nother layin’ on ’im kind o’ hard, He’d snort an’ squeal ter beat a callioap, Then shove the bunch aside an’ wiggle out, An’ give ’em fits, an’ then go ’long an’ plunk His carcuss on some other one; an’ then We’d git the hull dum show all over ’gin.
Wal, me an’ Bill was watchin’ on ’em quar’l An’ slowly qui’tin’ down. ’T was one them nights— Yew’ve saw ’em, co’se, ef yew was country raised— A leetle tinge o’ red left in the west, When yew kin still set out without a coat, An’ yit yer sort o’ glad when yew come in An’ find the lamp’s het up the room. Yew felt Thet Fallish dreaminess thet ain’t like May’s, When Nacher’s takin’ off ’er overalls, But ain’t quite done with cleanin’ up the ruck. We got a-talkin’ speckerlatish like, ’N’ I sez, a-lookin’ up t’ them milyun stars, “I bet ye, Bill, they’s farms on Jupiter,” An’ Bill ’e sez, “I’ve offen thought o’ that.”
An’ then he started in an’ reeled it off Jessif he’s readin’ po’try outen books: “A Jovial Spring,” he sez (his very words), “Mus’ last fer mos’ three years, an’ Fall the same. Jes’ think o’ havin’ apple blows, or ’simmons, All ’t once that long! But then yer’d hev ter plow An’ harrer tew fer three four years ’t a stretch; Things ’d even up about the same, I reckon ... Eight kinds o’ moonlight thar, Jehosaphat! Wonder’f thet means eight kinds o’ moonshine tew! An’ whadyer’ spose it dooz ter lovers, potes, An’ bayin’ houn’ dawgs——” “O Bil-l-l! Ain’t ye com’n?” ’T was Laury callin’ ’im. She never knowed How much she pestered Bill. “Le’s gwin,” he sez.
All day I’d b’en a-cuttin’ wheat In the drippin’est kind o’ heat, While Bill he’d drug the road right smart An’ hed made what he called a start Out on the forty west the silos (On the road leadin’ down to Milo’s). We both was watchin’ th’ evenin’ star, Sort o’ smokin’ an’ dozin’ thar, When Laury’s voice begun ter croon With the follerin’ drowsy toon:
_Sleep O, Willy bright! The whip-poor-will’s pleadin’, But mommy ain’t heedin’, Fer Willy aint needin’ No beatin’ ternight._
_Hushaby, Willy wise! Tree-frogs is a pipin’, An’ dad’s gone a-snipin’, While mommy’s a-wipin’ Yo’ pore little eyes._
_O bye Willy bye! The screech-owl’s a-screechin’, The veery’s beseechin’, An’ mommy feels meachin’ Ter hear Willy cry._
_In the chimly they’s chitt’rin’ An’ twitt’rin’ an’ litt’rin’, Sleep O, sleep O, Willy wee; Fer the swallers is cheepin’ An’ peepin’ an’ sleepin’— That’s whar Willy wee orter be._
_On ’is little bed O, With nary dread O, An’ a milk-weed puffy Fer ’is coverlet fluffy, Hushaby, hushaby, Willy O;_
_An’ ’is piller a gossam— Y blow from the blossom Thet floats from a thistle Whar tralaloos whistle— Hushaby, hushaby, Willy O!_
Next mornin’ ’t breakfas’ Bill aver’d: “Wal, I reckon thet tralaloo bird Was mos’ tew much fer yew an’ me; Did ye know it was ha’f pas’ three....” “Shet up,” I sez. O’ co’se I knew, ’Cos my clo’es was jes’ soaked with dew!
I s’pose all farmers gits thet way in time, An’ I don’t wonder; it’s enough ter make Perfesh’nal prophits feel onsartin like. I mean the everlastin’ buckin’ up Agin ol’ Nacher an’ the elemunts Year in, year out, ontil ye wouldn’t sw’ar ’T ye’ve got ’ny oats at all, f’r exampel, even When cut an’ thrashed an’ layin’ in the bin; Yew know thet somp’n still kin spile thet crop. ’F a farmer wants ter gamble, he don’t hev Ter speckerlate on ’Change; I should say not; Jes’ let ’im farm it, plain an’ orn’ry farm it— Thet’s all he’s gotta dew. I’ll bet ye’n less ’N a fortnit he’d be plum dead sure ’t ’is chances Fer buy’n’ a kerosene kerridge playin’ faro Was ten ter one agin the farmin’ game. Naow jes’ consider what the farmer’s got Ter fight; they’s tew much rain or not enough; ’F ’e ’s got a crick, ’t will overflow an’ drownd ’Is corn, or else ’t will be a ditch o’ dust; An’ then they’s ev’ry bug in all helnation A-eatin’ off his truck an’ animuls; They’s lightnin’, winter-killin’, rust, an’ smut, An’ wind—’d yew ever see one them black twisters Come rippin’ down an’ shave the ten foot silage Right off a eighty slick’s a whistle? I hev. It’s one the grandes’, weerdes’ sights on earth, But hell on farmin’. Yew cain’t blame a farmer ’F ’e aint quite sure thet death an’ taxes might Not leave ’im be. Mos’ farmers won’t commit The’rsel’s on nothin’ ’t all, an’ ain’t they right? The trooth on’t is, they don’t jes’ ’zac’ly know The’r soul’s the’r own, an’ Bill he’s that ’a’ way.
I never seen a feller thet could git Away with sech a everlastin’ lot O’ beatin’ round the bush an’ dodgin’ ’s Bill. W’y, he aint sure o’ heaven or hell, or enny O’ them things fokes knows mostly all about. ’F I ast ’im if they’s “cats” in Four Mile, “Wal,” He’d say—an’ mebbe Laury’d jes’ be’n cleanin’ A mess he’d ketched thet day—“they git ’em thar, So I’ve heerd tell, but I dunno’s they is, An’ dunno _as_ they is.” An’ when I ’low It looks right smart like rain, Bill squints aroun’ An’ sez he shouldn’t wonder whether ’t did Or not. An’ when he’s stuck a pig, an’ Willy, A-lookin’ on with bulgin’ baby eyes, Sez breathless, “Paw, ’s ’e daid?”—all Bill kin say’s, “Wal, I suspishun so; he’d orter be.”
I ast ’im onct ’f ’e tho’t th’ alfalfy’d ketch. He spit an’ picked a blade o’ grass an’ et it. “Seems like ’f we hed a shower o’ rain, an’ then A warmish spell thet didn’t run ter drouth, No killin’ frost or long wet rainy days, An’ ’f Lon mixed in thet fosfate half way right, An’ all thet ’nockerlatin’ ’s enny good, An’ ’f luck should kind o’ come our way a bit, Thet air alfalfy’d mebbe make a start.” I knowed jes’ much then ’zif I hedn’t ast. One time a mule kicked Bill squar’ on the jaw. He seen it comin’—hed no chance ter dodge. He laid in bed a week afore he woke, An’ staid thar ’nother nursin’ up ’is face. A few days later meetin’ that ’ar mule Bill sez, a-shak’n’ ’is finger playful-like, “’F I knowed fer sure ’t was yew thet done this ’ere, I reck’n I might git mad, but I dunno,” An’ han’s the graynose cuss a fresh pulled carrot. That’s Bill all over. Fifty years o’ playin’ The game agin the god o’ Luck hez made ’Im jest a leetle guarded in ’is speech, An’ l’arned ’im how ter take ’is dose ’thout squealin’.
“It’s quarter t’ five,” Bill hollers; yew sigh an’ mutter “Gosh!” An’ jes’ slide int’ yer overhalls an’ shirt; It ain’t much use ter bother with try’n’ ter take a wash, F’r in ha’f a hour yew’ll be jes’ ’s bad fer dirt. Yew’re ou’ the barn ’n a jiffy a-feedin’ Ball an’ Belle, An’ rubbin’ up ol’ Zilfy’s battered hide; Yew’re like a tired enjin’, ’cos yer didn’t sleep right well, But say—that breakfas’ waitin’ thar inside!
It’s wonderful what eatin’ will dew ter set ye right; It’s one the things ’bout farmin’ ’t nothin’ beats; Yew get all riled fer sweatin’ ’ithout a break in sight, But—yew fergit it when it’s time fer eats. Now toast an’ egg an’ coffee’s ’bout all the av’rage feller Kin eat fer breakfas’ in a swelt’rin’ town; But gosh all blinkin’ blazes, yew ain’t no clerk nor teller, Yew gotta hev reel feed, an’ wash it down.
So in yew go t’ the kitchen, a room o’ quite some size; Yew grab a cheer an’ haul it up t’ yer place; Matildy ’n’ Sophy ’s servin’, while Laury fans the flies, An’ Bill he mumbles thru a form o’ grace. I wish thet I was able ter dew Bill’s Laury jestice, An’ tell the diff’runt things she’s set afore ye; But I’m ez fer from doin’ thet ’ar ez east from west is, ’N’ I suttenly hev no desire ter bore ye.
But ennyhow jes’ listen: Pertaters mashed an’ wavy; A bowl of yeller butter thick an’ creamy; A plate o’ spicy sassage with eggs fried in the gravy, An’ chicken fricaseed, all hot an’ steamy; A dish o’ gravied dumplin’s, an’ one o’ beans an’ corn— Thet suckertash o’ Laury’s hits me hard! Her pickled beets is wonders, her slaw fresh ez the morn, Her passnips sweeter ’n frankinsense an’ nard.
An’ then they’s jams an’ jellies, a fluffy heap o’ bread, Hot corncake tew, ’f yew want it—which yew dew; A leaf o’ curly lettis, or, if yew wish, a head; An’ unyons raw, or peppered in a stew. An’ when yew’ve et thru this ’ere a time or tew or so, An’ drunk three cups o’ coffee ’thout a sigh (Ye never know it’s chic’ry, an’ ye never need ter know), Then, by the Great Lord Harry, comes the pie!
Two kinds at Laury’s allers, an’ a hunk o’ cheese with it, An’ top it off with do’nuts, milk, an’ cake; Bill passes yew a teethpick, yew settle back a bit, An’ reely think yew’re gittin’ wide awake. Wal, ye need thet kind o’ fuel, ’cos farm work’s tur’bel grillin’, On freezy days or in a b’ilin’ heat; It ain’t farm life or workin’, ez mos’ fokes thinks, is killin’— It’s when ye cain’t git all ye want ter eat!
The Skillet Fork is not a picturesque river. The opening poem describes it as “crookeder then worms,” with “green an’ scummy” water and logs that look “’zac’ly like ’t was drownded.” Yet the speaker insists it “hants yer dreams.” This tension between unlovely reality and persistent attachment sets the tone for the collection. Payson Sibley Wild’s dialect verse, first published in the Chicago Tribune’s “A Line O’ Type Or Two,” presents a community seen through the eyes of a narrator who addresses a farmer named Bill. The poems move from comic mishaps—like catfish grabbing—to more serious meditations on war and loss, all while maintaining a consistent, colloquial voice.
Dialect as a Lens on Character
The poems are written in a thick rural dialect that does more than mark setting; it shapes how characters think and feel. In “The Skillet,” the speaker’s grammar and word choices—“yew,” “jes’,” “thar,” “’cos”—create an intimate, oral quality. The narrator’s aside “I’d tell ye haow ’f I knowed ye’d b’lieve me” acknowledges the listener’s potential skepticism, a self-aware move that builds trust. In “Bill on War,” Bill’s speech becomes more halting when discussing his son Lon: “I’d see ’t he went” is delivered with a cough and a blown nose, the physical details undercutting the brave sentiment. The dialect is not uniform; it shifts with emotion, becoming more fragmented in moments of tension.
Recurring Motifs and Structural Patterns
Several motifs recur across the poems, linking them into a loose cycle. The Skillet Fork itself appears repeatedly, its crooked course and muddy banks a constant backdrop. Animals—catfish, mockingbirds, ’possums, and especially hogs—serve as both subjects and metaphors. In “Treed,” a wild boar hunt becomes a tall tale of a man forced up a tree, the narrative framed by Bill’s recollection. The poem “Bill on War” uses the story of a bull named Ben to discuss national character: “We’re all tew pussy ’n’ prizey ’n’ prosp’rus like / Ter tech a wil’cat even with a fork.” This analogy, drawn from farm life, grounds abstract ideas in concrete experience. The collection also alternates between comic pieces (like “Laury’s ‘Eats’”) and somber ones (like “Killed in Action”), creating a deliberate rhythm of mood.
Pace and the Weight of Silence
The poems vary in pace from brisk, anecdotal narratives to slower, more reflective passages. “The ’Possum Hunt” moves quickly through action, while “Bill on War” lingers on a single conversation. The most striking shift occurs in the final lines of “Bill on War,” where the narrator’s light remark is met with Bill’s choked response: “I’d see ’t he went.” The stage direction that follows—“a gust o’ wind / Put out my light”—creates a sudden darkness, both literal and figurative. This use of weather and physical gesture to punctuate emotion is a recurring technique. In “Treed,” the punchline of the tall tale is delivered with a shrug: “An’ thet’s what ’e done.” The understatement leaves the listener to fill in the fear. Wild often lets a single line or image carry the weight of a poem’s meaning, trusting the reader to catch the shift.
These poems reward reading aloud, as the dialect’s rhythms and rhymes become more apparent. Pay attention to the moments when the narrator steps back—a cough, a gust of wind, a change in the weather—for these are where the collection’s emotional depth lies. The Skillet Fork may be unlovely, but Wild’s handling of its people’s voices makes it memorable.
Sometimes the voices in Idylls of the Skillet Fork stay with me long after I close the pages—that ache of loss hiding under everyday talk. It reminds me of how another place, with its own salt air and quiet, holds similar echoes of people and their passing. That feeling lingers softly in On old Cape Cod — Themes and Context, like a memory I wasn’t expecting.
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