: A Window in Thrums by Barrie J M James Matthew - Scotland Social life and customs 19th century Fiction

@FreeBooksTue 06 Jun, 2023

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CHAPTER

The square foot of glass where Jess sat in her chair and looked down the brae

INTRODUCTION

When the English publishers read "A Window in Thrums" in manuscript they thought it unbearably sad and begged me to alter the end. They warned me that the public do not like sad books. Well, the older I grow and the sadder the things I see, the more do I wish my books to be bright and hopeful, but an author may not always interfere with his story, and if I had altered the end of "A Window in Thrums" I think I should never have had any more respect for myself. It is a sadder book to me than it can ever be to anyone else. I see Jess at her window looking for the son who never came back as no other can see her, and I knew that unless I brought him back in time the book would be a pain to me all my days, but the thing had to be done.

I think there are soft-hearted readers here and there who will be glad to know that there never was any Jess. There is a little house still standing at the top of the brae which can be identified as her house, I chose it for her though I was never in it myself, but it is only the places in my books about Thrums that may be identified. The men and women, with indeed some very subsidiary exceptions, who now and again cross the square, are entirely imaginary, and Jess is of them. But anything in her that was rare or beautiful she had from my mother; the imaginary woman came to me as I looked into the eyes of the real one. And as it is the love of mother and son that has written everything of mine that is of any worth, it was natural that the awful horror of the untrue son should dog my thoughts and call upon me to paint the picture. That, I believe now, though I had no idea of it at the time, is how "A Window in Thrums" came to be written, less by me than by an impulse from behind. And so it wrote itself, very quickly. I have read that I rewrote it eight times, but it was written once only, nearly every chapter, I think, at a sitting.

A WINDOW IN THRUMS

THE HOUSE ON THE BRAE

On the bump of green round which the brae twists, at the top of the brae, and within cry of T'nowhead Farm, still stands a one-storey house, whose whitewashed walls, streaked with the discoloration that rain leaves, look yellow when the snow comes. In the old days the stiff ascent left Thrums behind, and where is now the making of a suburb was only a poor row of dwellings and a manse, with Hendry's cot to watch the brae. The house stood bare, without a shrub, in a garden whose paling did not go all the way round, the potato pit being only kept out of the road, that here sets off southward, by a broken dyke of stones and earth. On each side of the slate-coloured door was a window of knotted glass. Ropes were flung over the thatch to keep the roof on in wind.

Into this humble abode I would take any one who cares to accompany me. But you must not come in a contemptuous mood, thinking that the poor are but a stage removed from beasts of burden, as some cruel writers of these days say; nor will I have you turn over with your foot the shabby horse-hair chairs that Leeby kept so speckless, and Hendry weaved for years to buy, and Jess so loved to look upon.

I speak of the chairs, but if we go together into the "room" they will not be visible to you. For a long time the house has been to let. Here, on the left of the doorway, as we enter, is the room, without a shred of furniture in it except the boards of two closed-in beds. The flooring is not steady, and here and there holes have been eaten into the planks. You can scarcely stand upright beneath the decaying ceiling. Worn boards and ragged walls, and the rusty ribs fallen from the fireplace, are all that meet your eyes, but I see a round, unsteady, waxcloth-covered table, with four books lying at equal distances on it. There are six prim chairs, two of them not to be sat upon, backed against the walls, and between the window and the fireplace a chest of drawers, with a snowy coverlet. On the drawers stands a board with coloured marbles for the game of solitaire, and I have only to open the drawer with the loose handle to bring out the dambrod. In the carved wood frame over the window hangs Jamie's portrait; in the only other frame a picture of Daniel in the den of lions, sewn by Leeby in wool. Over the chimney-piece with its shells, in which the roar of the sea can be heard, are strung three rows of birds' eggs. Once again we might be expecting company to tea.

The passage is narrow. There is a square hole between the rafters, and a ladder leading up to it. You may climb and look into the attic, as Jess liked to hear me call my tiny garret-room. I am stiffer now than in the days when I lodged with Jess during the summer holiday I am trying to bring back, and there is no need for me to ascend. Do not laugh at the newspapers with which Leeby papered the garret, nor at the yarn Hendry stuffed into the windy holes. He did it to warm the house for Jess. But the paper must have gone to pieces and the yarn rotted decades ago.

I have kept the kitchen for the last, as Jamie did on the dire day of which I shall have to tell. It has a flooring of stone now, where there used only to be hard earth, and a broken pane in the window is indifferently stuffed with rags. But it is the other window I turn to, with a pain at my heart, and pride and fondness too, the square foot of glass where Jess sat in her chair and looked down the brae.

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