Chapter: IT is sixteen years since John Bergson died. His wife now lies
beside him, and the white shaft that marks their graves gleams
across the wheat-fields. Could he rise from beneath it, he would
not know the country under which he has been asleep. The shaggy coat
of the prairie, which they lifted to make him a bed, has vanished
forever. From the Norwegian graveyard one looks out over a vast
checker-board, marked off in squares of wheat and corn; light and
dark, dark and light. Telephone wires hum along the white roads,
which always run at right angles. From the graveyard gate one can
count a dozen gayly painted farmhouses; the gilded weather-vanes
on the big red barns wink at each other across the green and brown
and yellow fields. The light steel windmills tremble throughout
their frames and tug at their moorings, as they vibrate in the wind
that often blows from one week's end to another across that high,
active, resolute stretch of country.

The Divide is now thickly populated. The rich soil yields heavy
harvests; the dry, bracing climate and the smoothness of the land
make labor easy for men and beasts. There are few scenes more
gratifying than a spring plowing in that country, where the furrows
of a single field often lie a mile in length, and the brown earth,
with such a strong, clean smell, and such a power of growth and
fertility in it, yields itself eagerly to the plow; rolls away
from the shear, not even dimming the brightness of the metal, with
a soft, deep sigh of happiness. The wheat-cutting sometimes goes
on all night as well as all day, and in good seasons there are
scarcely men and horses enough to do the harvesting. The grain is
so heavy that it bends toward the blade and cuts like velvet.

There is something frank and joyous and young in the open face
of the country. It gives itself ungrudgingly to the moods of the
season, holding nothing back. Like the plains of Lombardy, it
seems to rise a little to meet the sun. The air and the earth are
curiously mated and intermingled, as if the one were the breath
of the other. You feel in the atmosphere the same tonic, puissant
quality that is in the tilth, the same strength and resoluteness.

One June morning a young man stood at the gate of the Norwegian
graveyard, sharpening his scythe in strokes unconsciously timed to
the tune he was whistling. He wore a flannel cap and duck trousers,
and the sleeves of his white flannel shirt were rolled back to
the elbow. When he was satisfied with the edge of his blade, he
slipped the whetstone into his hip pocket and began to swing his
scythe, still whistling, but softly, out of respect to the quiet
folk about him. Unconscious respect, probably, for he seemed
intent upon his own thoughts, and, like the Gladiator's, they were
far away. He was a splendid figure of a boy, tall and straight
as a young pine tree, with a handsome head, and stormy gray eyes,
deeply set under a serious brow. The space between his two front
teeth, which were unusually far apart, gave him the proficiency
in whistling for which he was distinguished at college. (He also
played the cornet in the University band.)

When the grass required his close attention, or when he had to
stoop to cut about a head-stone, he paused in his lively air,--the
"Jewel" song,--taking it up where he had left it when his scythe
swung free again. He was not thinking about the tired pioneers
over whom his blade glittered. The old wild country, the struggle
in which his sister was destined to succeed while so many men broke
their hearts and died, he can scarcely remember. That is all among
the dim things of childhood and has been forgotten in the brighter
pattern life weaves to-day, in the bright facts of being captain
of the track team, and holding the interstate record for the high
jump, in the all-suffusing brightness of being twenty-one. Yet
sometimes, in the pauses of his work, the young man frowned and
looked at the ground with an intentness which suggested that even
twenty-one might have its problems.

When he had been mowing the better part of an hour, he heard the
rattle of a light cart on the road behind him. Supposing that it
was his sister coming back from one of her farms, he kept on with
his work. The cart stopped at the gate and a merry contralto voice
called, "Almost through, Emil?" He dropped his scythe and went
toward the fence, wiping his face and neck with his handkerchief.
In the cart sat a young woman who wore driving gauntlets and a wide
shade hat, trimmed with red poppies. Her face, too, was rather
like a poppy, round and brown, with rich color in her cheeks and
lips, and her dancing yellow-brown eyes bubbled with gayety. The
wind was flapping her big hat and teasing a curl of her chestnut-colored
hair. She shook her head at the tall youth.

"What time did you get over here? That's not much of a job for
an athlete. Here I've been to town and back. Alexandra lets you
sleep late. Oh, I know! Lou's wife was telling me about the way
she spoils you. I was going to give you a lift, if you were done."
She gathered up her reins.

"But I will be, in a minute. Please wait for me, Marie," Emil
coaxed. "Alexandra sent me to mow our lot, but I've done half a
dozen others, you see. Just wait till I finish off the Kourdnas'.
By the way, they were Bohemians. Why aren't they up in the Catholic
graveyard?"

"Free-thinkers," replied the young woman laconically.

"Lots of the Bohemian boys at the University are," said Emil, taking
up his scythe again. "What did you ever burn John Huss for, anyway?
It's made an awful row. They still jaw about it in history classes."

"We'd do it right over again, most of us," said the young woman
hotly. "Don't they ever teach you in your history classes that
you'd all be heathen Turks if it hadn't been for the Bohemians?"

Emil had fallen to mowing. "Oh, there's no denying you're a spunky
little bunch, you Czechs," he called back over his shoulder.

Marie Shabata settled herself in her seat and watched the rhythmical
movement of the young man's long arms, swinging her foot as if
in time to some air that was going through her mind. The minutes
passed. Emil mowed vigorously and Marie sat sunning herself and
watching the long grass fall. She sat with the ease that belongs
to persons of an essentially happy nature, who can find a comfortable
spot almost anywhere; who are supple, and quick in adapting themselves
to circumstances. After a final swish, Emil snapped the gate and
sprang into the cart, holding his scythe well out over the wheel.
"There," he sighed. "I gave old man Lee a cut or so, too. Lou's
wife needn't talk. I never see Lou's scythe over here."

Marie clucked to her horse. "Oh, you know Annie!" She looked at
the young man's bare arms. "How brown you've got since you came
home. I wish I had an athlete to mow my orchard. I get wet to my
knees when I go down to pick cherries."

"You can have one, any time you want him. Better wait until after
it rains." Emil squinted off at the horizon as if he were looking
for clouds.

"Will you? Oh, there's a good boy!" She turned her head to him
with a quick, bright smile. He felt it rather than saw it. Indeed,
he had looked away with the purpose of not seeing it. "I've been
up looking at Angelique's wedding clothes," Marie went on, "and
I'm so excited I can hardly wait until Sunday. Amedee will be
a handsome bridegroom. Is anybody but you going to stand up with
him? Well, then it will be a handsome wedding party." She made a
droll face at Emil, who flushed. "Frank," Marie continued, flicking
her horse, "is cranky at me because I loaned his saddle to Jan
Smirka, and I'm terribly afraid he won't take me to the dance in
the evening. Maybe the supper will tempt him. All Angelique's
folks are baking for it, and all Amedee's twenty cousins. There
will be barrels of beer. If once I get Frank to the supper, I'll
see that I stay for the dance. And by the way, Emil, you mustn't
dance with me but once or twice. You must dance with all the French
girls. It hurts their feelings if you don't. They think you're
proud because you've been away to school or something."

Emil sniffed. "How do you know they think that?"

"Well, you didn't dance with them much at Raoul Marcel's party, and
I could tell how they took it by the way they looked at you--and
at me."

"All right," said Emil shortly, studying the glittering blade of
his scythe.

They drove westward toward Norway Creek, and toward a big white
house that stood on a hill, several miles across the fields. There
were so many sheds and outbuildings grouped about it that the
place looked not unlike a tiny village. A stranger, approaching
it, could not help noticing the beauty and fruitfulness of the
outlying fields. There was something individual about the great
farm, a most unusual trimness and care for detail. On either side
of the road, for a mile before you reached the foot of the hill,
stood tall osage orange hedges, their glossy green marking off
the yellow fields. South of the hill, in a low, sheltered swale,
surrounded by a mulberry hedge, was the orchard, its fruit trees
knee-deep in timothy grass. Any one thereabouts would have told
you that this was one of the richest farms on the Divide, and that
the farmer was a woman, Alexandra Bergson.

If you go up the hill and enter Alexandra's big house, you will
find that it is curiously unfinished and uneven in comfort. One
room is papered, carpeted, over-furnished; the next is almost
bare. The pleasantest rooms in the house are the kitchen--where
Alexandra's three young Swedish girls chatter and cook and pickle
and preserve all summer long--and the sitting-room, in which
Alexandra has brought together the old homely furniture that the
Bergsons used in their first log house, the family portraits, and
the few things her mother brought from Sweden.

When you go out of the house into the flower garden, there you feel
again the order and fine arrangement manifest all over the great
farm; in the fencing and hedging, in the windbreaks and sheds, in
the symmetrical pasture ponds, planted with scrub willows to give
shade to the cattle in fly-time. There is even a white row of
beehives in the orchard, under the walnut trees. You feel that,
properly, Alexandra's house is the big out-of-doors, and that it
is in the soil that she expresses herself best.

 Let's move right along to Part 2, shall we? This one's called "Neighboring Fields." It's been sixteen years since John Bergson died. In the meantime, Mrs. Bergson has also passed away. And neither of them would be able to recognize the Divide now. Instead of the punishing landscape we got to know in Part I, the Divide is flourishing, the fields are brimming with lush rows of wheat and corn, and the population is booming. The chapter begins on a summery day in June. A tall, athletic young man, who turns out to be Emil, is using a scythe to cut the grass growing in the Norwegian graveyard. As he cuts the grass, he whistles a tune to himself. He can hardly remember the old days, when his sister struggled to make it while all the others chose to abandon the land. Though he seems happy and carefree, occasionally he pauses, with a frown on his face, which seems to indicate that something is weighing on his mind. A cart rolls up and a voice calls out to Emil. It's Marie Tovesky, now Marie Shabata, the little girl Emil meets in Chapter 1. She offers to give him a lift, but she sees he hasn't finished up mowing yet. They strike up a conversation as Emil mows. They talk about the freethinking Bohemians who, despite being from a Catholic country, are buried in the Norwegian graveyard and the upcoming marriage of their friend Amedee Chevalier. Marie asks Emil to come mow her orchard, and reminds him to dance with the French girls at the wedding, so they don't get their feelings hurt. It sounds like he spends most of the time dancing with Marie. In the course of the conversation, we find out that Emil is studying at the university, and that Marie is married to a man named Frank. Marie mentions that her husband's mad at her for lending their saddle to another man. Talk about tension. Marie appears openly flirtatious, while Emil seems to be ignoring it. Emil finishes and they ride together toward a large white house that belongs to Alexandra, now a wealthy farmer. The narrator clues us in that this is one of the richest farms on the Divide. We also get some details on the house: though stately, the house is only partially finished, with some rooms with wallpaper and filled with furniture, while others are still bare. The kitchen is the nicest room, where three Swedish girls work for Alexandra, and where many of the original things from the Bergson homestead remain. The garden around the house is orderly and productive, unlike the unevenly furnished home. As the narrator says, we get the feeling that "it is in the soil that expresses herself best" .

