Short Fiction by O. Henry (librera reader txt) π
Description
William Sydney Porter, known to readers as O. Henry, was a true raconteur. As a draftsman, a bank teller, a newspaper writer, a fugitive from justice in Central America, and a writer living in New York City, he told stories at each stop and about each stop. His stories are known for their vivid characters who come to life, and sometimes death, in only a few pages. But the most famous characteristic of O. Henryβs stories are the famous βtwistβ endings, where the outcome comes as a surprise both to the characters and the readers. O. Henryβs work was widely recognized and lauded, so much so that a few years after his death an award was founded in his name to recognize the best American short story (now stories) of the year.
This collection gathers all of his available short stories that are in the U.S. public domain. They were published in various popular magazines of the time, as well as in the Houston Post, where they were not attributed to him until many years after his death.
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- Author: O. Henry
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Old man Ellison was his own vaciero. That means that he supplied his sheep camps with wood, water, and rations by his own labours instead of hiring a vaciero. On small ranches it is often done.
One morning he started for the camp of IncarnaciΓ³n Felipe de la Cruz y Monte Piedras (one of his sheep herders) with the weekβs usual rations of brown beans, coffee, meal, and sugar. Two miles away on the trail from old Fort Ewing he met, face to face, a terrible being called King James, mounted on a fiery, prancing, Kentucky-bred horse.
King Jamesβs real name was James King; but people reversed it because it seemed to fit him better, and also because it seemed to please his majesty. King James was the biggest cattleman between the Alamo plaza in San Antone and Bill Hopperβs saloon in Brownsville. Also he was the loudest and most offensive bully and braggart and bad man in southwest Texas. And he always made good whenever he bragged; and the more noise he made the more dangerous he was. In the story papers it is always the quiet, mild-mannered man with light blue eyes and a low voice who turns out to be really dangerous; but in real life and in this story such is not the case. Give me my choice between assaulting a large, loudmouthed rough-houser and an inoffensive stranger with blue eyes sitting quietly in a corner, and you will see something doing in the corner every time.
King James, as I intended to say earlier, was a fierce, two-hundred-pound, sunburned, blond man, as pink as an October strawberry, and with two horizontal slits under shaggy red eyebrows for eyes. On that day he wore a flannel shirt that was tan-coloured, with the exception of certain large areas which were darkened by transudations due to the summer sun. There seemed to be other clothing and garnishings about him, such as brown duck trousers stuffed into immense boots, and red handkerchiefs and revolvers; and a shotgun laid across his saddle and a leather belt with millions of cartridges shining in itβ βbut your mind skidded off such accessories; what held your gaze was just the two little horizontal slits that he used for eyes.
This was the man that old man Ellison met on the trail; and when you count up in the baronβs favour that he was sixty-five and weighed ninety-eight pounds and had heard of King Jamesβs record and that he (the baron) had a hankering for the vita simplex and had no gun with him and wouldnβt have used it if he had, you canβt censure him if I tell you that the smiles with which the troubadour had filled his wrinkles went out of them and left them plain wrinkles again. But he was not the kind of baron that flies from danger. He reined in the mile-an-hour pony (no difficult feat), and saluted the formidable monarch.
King James expressed himself with royal directness. βYouβre that old snoozer thatβs running sheep on this range, ainβt you?β said he. βWhat right have you got to do it? Do you own any land, or lease any?β
βI have two sections leased from the state,β said old man Ellison, mildly.
βNot by no means you havenβt,β said King James. βYour lease expired yesterday; and I had a man at the land office on the minute to take it up. You donβt control a foot of grass in Texas. You sheep men have got to git. Your timeβs up. Itβs a cattle country, and there ainβt any room in it for snoozers. This range youβve got your sheep on is mine. Iβm putting up a wire fence, forty by sixty miles; and if thereβs a sheep inside of it when itβs done itβll be a dead one. Iβll give you a week to move yours away. If they ainβt gone by then, Iβll send six men over here with Winchesters to make mutton out of the whole lot. And if I find you here at the same time this is what youβll get.β
King James patted the breech of his shotgun warningly.
Old man Ellison rode on to the camp of IncarnaciΓ³n. He sighed many times, and the wrinkles in his face grew deeper. Rumours that the old order was about to change had reached him before. The end of Free Grass was in sight. Other troubles, too, had been accumulating upon his shoulders. His flocks were decreasing instead of growing; the price of wool was declining at every clip; even Bradshaw, the storekeeper at Frio City, at whose store he bought his ranch supplies, was dunning him for his last six monthsβ bill and threatening to cut him off. And so this last greatest calamity suddenly dealt out to him by the terrible King James was a crusher.
When the old man got back to the ranch at sunset he found Sam Galloway lying on his cot, propped against a roll of blankets and wool sacks, fingering his guitar.
βHello, Uncle Ben,β the troubadour called, cheerfully. βYou rolled in early this evening. I been trying a new twist on the Spanish Fandango today. I just about got it. Hereβs how she goesβ βlisten.β
βThatβs fine, thatβs mighty fine,β said old man Ellison, sitting on the kitchen step and rubbing his white, Scotch-terrier whiskers. βI reckon youβve got all the musicians beat east and west, Sam, as far as the roads are cut out.β
βOh, I donβt know,β said Sam, reflectively. βBut I certainly do get there on variations. I guess I can handle anything in five flats about as well as any of βem. But you look kind of fagged out, Uncle Benβ βainβt you feeling right well this evening?β
βLittle tired; thatβs all, Sam. If you ainβt played yourself out, letβs have that Mexican piece that starts off with: βHuile, huile, palomita.β It seems that that song
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