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Caroline called her son to dinner, as the twelve-o'clock meal is called in Hooker's Bend, and so ended his meditation. The Harvard man went back into the kitchen and sat down at a rickety table covered with a red-checked oil-cloth. On it were spread the spoiled ham, a dish of poke salad, a corn pone, and a pot of weak coffee. A quaint old bowl held some brown sugar. The fat old negress made a slight, habitual settling movement in her chair that marked the end of her cooking and the beginning of her meal. Then she bent her grizzled, woolly head and mumbled off one of those queer old-fashioned graces which consist of a swift string of syllables without pauses between either words or sentences.

Peter sat watching his mother with a musing gaze. The kitchen was illuminated by a single small square window set high up from the floor. Now the disposition of its single ray of light over the dishes and the bowed head of the massive negress gave Peter one of those sharp, tender apprehensions of formal harmony that lie back of the genre in art. It stirred his emotion in an odd fashion. When old Caroline raised her head, she found her son staring with impersonal eyes not at herself, but at the whole room, ​including her. The old woman was perplexed and a little apprehensive.