The Call of the South — Background and Themes

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Durham, Robert Lee, 1870-1949, Roth, Henry [Illustrator] Project Gutenberg 2014
Race relations -- Fiction; Racism -- Fiction; Miscegenation -- Fiction Readers of public-domain and historical texts
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Words: 123,306
Reading time: 537 min
Text sections: 18
An editorial note on Robert Lee Durham's 1908 novel, focusing on its structure, recurring images, and movement between scenes, with observations drawn from the opening chapter and a stable-yard dialogue.
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"Oh, honey," cried his mother, "don’t ask me any more about it. I just made mammy tell me all about her father and mother and her running away from Kentucky, and I wish to the Lord I never had! It was just awful."

"So! Well, now I must know. Go on and tell it. The quicker you do the sooner it will be over. Go on, I say. What was your mother’s father named?"

"Gumbo—Guinea Gumbo."

"Poetic name that! And her mother’s name, what was it?"

"Not so poetic, though it sounds like some poetry I’ve read, too. And now what did this pair do or suffer that was so terrible? It’s no use dodging any longer."

"Well, child, if I must, I suppose I must. My mother’s mother didn’t do anything that was awful; but Guinea Gumbo—I wish I knew I was no kin to him. Mammy said he was brought right from Africa and was as wild as a wolf. Nobody could understand much that he said, and General Young had a time keeping him from tearing things up. He used to run away and stay in the swamp for weeks at a time. The children on the place, black and white, were as scared of him as death, and none of the slave women would ever go about him if they could help it. Not long after General Young bought him, Gumbo and his first wife, who was brought over from Africa with him, had the plans all fixed to steal one of the General’s little boys, five or six years old, and carry him off to the river-swamp and have a regular cannibal feast of him. General Young found it out in time; and mammy said the old negroes on the plantation said that was what killed the woman, the whipping she and Gumbo got for it. It laid Gumbo up for a long time, but he got over it. It seemed that nothing but shooting could kill him."

"Did they shoot him to kill him? What was that for?" asked Graham.

"Honey, that is the awful part of it. Mammy said that one day her young mistis, the General’s oldest daughter, didn’t come home from a ride she had taken, and the whole plantation was turned out to find her. But some one came along and told the General that she had eloped across the river with a young man he had forbidden to come on the place, and all the people on the plantation went back to their quarters. As the young man could not be found, everybody thought that he and Miss Lily had run away and married and were too much afraid of her father to come back home. The next day, however, the young man turned up, and swore he had not seen Miss Lily in a week. Then the plantation was in terror.—Honey, I can’t tell you the rest.—They found her.—When they were calling out all the people from the quarters, the General learned that Gumbo had not been seen since Miss Lily was lost. He had run away so often that no attention was paid to it, for he always came back after a time.—They got the bloodhounds, mammy said, and went to the swamp. After a long time the dogs struck Gumbo’s trail, and—yes, they found her,—tied hands and feet and her clothing torn to strings, in a kind of hut made of bark and brush way back in the swamp. She was dead, but she had not been dead an hour, from a gash in her head made by an axe. The dogs followed a hot scent from the hut for another hour, and led the men to where they had run Gumbo down. That was where they shot him—and left him. He still had the axe, and had killed one of the dogs, and nobody could get to him. They didn’t want to, I suppose."

Graham had listened to his mother’s last words without breathing, and when she stopped he dropped his face in his hands with a groan.... She began again in a few moments:

"Mammy said that when they brought her young mistis back home the General went off in a fit, and raved and cursed till the doctors and the rest of ’em had to hold him to keep him from killing somebody. Mammy was one of her old mistis’s house-girls, and she heard all the General’s ravings and screams that he would kill every nigger on the place; and he kept it up so long and kept breaking out again so after they thought they had him pacified that mammy said she was scared so bad she just couldn’t stay there any longer: and that’s what made her run away the very next night. She had a hard time getting across the river, but after she got over safe she didn’t have much trouble, for some of the white people took charge of her and helped her to get further on north. Pappy always said—"

"Oh, Lord, that’s enough!" the son broke in, raising his head out of his hands, and interrupting his mother’s flow of words, of which he had noted little since hearing the tragic story of his savage great-grandfather. He rose from his chair impatiently.

"So I am Hayward Graham, son of Patricia Schmidt, daughter of Cindy—nothing, daughter of Gumbo—nothing."

"Guinea Gumbo," corrected his mother.

"Oh, I beg my distinguished ancestor’s pardon for presuming to credit him with only one name. A gentleman with his record ought to have as many as Kaiser Bill," drawled Graham sarcastically. Then with better humour he said to his mother, "And will you please to inform me from which of your ancestors you inherited that name of Patricia?"

"Mammy named me that for her old mistis."

Graham stood for awhile looking at the blank wall. Then he spoke as if he had settled his problem.

"Yes I’m a negro—no doubt about that; and a negro I’ll be from to-morrow morning."

"Why, honey, you are not going to lower yourself to—"

"No, no. I’m not going to lower myself to anything; but I’m going to go with my own crowd, where I’ll not be insulted by people who are no better than I am. I got along very well at college, but these people here are different. I’ll show ’em. I’ll go to the war, and I’ll get as much glory out of it as any of ’em. My father was a soldier, and his father died in battle: I rather guess I can’t stay out of it. Good night, mummer."

And he took himself off to bed.

Hayward Graham was twenty-three years old. He had half finished his senior year at Harvard—with credit, it must be said—when the imminence of war drove all desire for study from his mind. He wrote to Harry Lodge a former college chum who had graduated in the class ahead of him and gone to Ohio to make a name for himself—fortune he had already—and asked that his name be proposed for membership in Lodge’s company of the 71st, as a regiment most likely to get in the scrimmage when it came. Lodge had done this and had written to Graham that doubtless he would be received on the next meeting night as war was at that time a certainty. Whereupon Graham had bundled up his traps and come without delay.

Graham’s mother also had travelled to Ohio, for the double purpose of telling her soldier good-bye and making a passing, and what promised to be a last visit to some, of her old Oberlin friends, drawing for expenses upon limited funds she had religiously hoarded and applied to her son’s tuition.

Her husband had always impressed upon her, and in his last moment enjoined, that the boy should be educated; and she had obeyed his wishes to the limit of her power and as a command from heaven. She had husbanded her small patrimony, recovered after a costly suit at law, slow-dragging through the New Hampshire courts, and had allowed it to accumulate while her son was in the graded schools against the time when it would be needed to send him to college. When that time had come it required no little faith to see how the small bank account would be sufficient to meet the expenses of four years at Harvard. She would better have sent the boy to a less expensive school, but no: John Graham had gone to Harvard, and nothing less than Harvard for his son would satisfy her idea of loyalty to his father’s memory and admonitions. So to Harvard she sent him, while she planned and worked to stretch and patch out the limited purse; and—miracle of financiering—she had fetched him to the half of his last year, and could have carried him to his graduation and still had enough dollars left to attend that momentous ceremony in a new frock.

Hayward Graham had repaid his mother’s sacrifices by diligence in his studies. He had been a close second to the leader of his class at the graded school, an exemplary and hard-working pupil in the grammar school, and at college his literary labours were diminished only by his efforts in athletics, which, indeed, did his work as a student little serious damage. He was quick to learn everything that his college career offered, not only the lore of books, but good-fellowship, easy manners and how to get on. His naturally friendly disposition did him little service at first in finding or making friends at Harvard, where there seemed to him to be so many desirable circles that he would be glad to enter, and he had thought for awhile his colour would bar him from any close friendships there. However, near the end of his freshman year he had occasion by personal combat to demonstrate his willingness to fight for the honour of his class and to show that his pugilistic powers were of no mean calibre, by thoroughly dressing down a couple of sophomores who had held him up to tell him what they thought of the whole tribe of freshmen, and who, upon his being so bold as to take issue with them, had attempted to "regulate" him. Kind-hearted Harry Lodge, himself a sophomore, had witnessed the trial of Graham’s courage, class loyalty and fistic abilities, and being struck with admiration had shaken hands with him and congratulated him on his prowess. From that moment Graham was by every token a member of the small coterie known as "Lodge’s Gang," to whom Lodge had introduced him as "the only freshman I know that’s worth a damn."

From the time of his admission into this set of good fellows Graham’s social side was provided with all it desired. Lodge and his friends seemed to think nothing at all of Graham’s colour; or, if they did, made the more of him in their enthusiastic support of the idea that "a man’s a man for a’ that." They had enough rollicking fun to keep their spare hours filled to the brim and sought the society of women very seldom; but when they did go to pay their vows at the shrine of the feminine, Graham was as often of the party as any other of "the gang."

The young women they visited seemed to find no fault with his coming; for he could do his share of stunts, had a good voice and a musical ear, and was never at a loss for something to say, while his colour meant no more to them than that of a Chinaman or a Jap. He was promptly and effectually smitten with each new pretty face that he saw on these occasional forays, just as were Hal and Jim Aldrich; but his ever-changing devotions showed plainly that it was as yet to no one woman, but to women, that his soul paid homage. As for the young women, any of them as soon would have thought of marrying one of the Chinese students in the University as him. In fact they did not associate him with the matrimonial idea, but were interested in him as in an unusual species of that ever-interesting genus, man. They made quite a lion of him for a time after his performance in the Harvard-Yale football game of 19—; so much so that he had become just a mite vain, which condition of mind precluded his falling in love with anybody for several weeks.

It was right at the height of his popularity that he had left Harvard to join the ranks of the 71st. But Corporal Lodge had written with too much assurance. Lieutenant Morgan of Lodge’s company caught the sound of that name, Hayward Graham, and remarked casually, "He has the same name as that Harvard nigger who was smashed up in the Yale game."

Some of the men thought the lieutenant said the applicant was a negro, and began to question Lodge. When that gentleman stood up to speak for his friend he quite captured them with his description of Graham’s courage and other excellences, but when he answered "yes" to a direct question whether his candidate was a negro, the enthusiasm and Graham’s chance of enlistment in the 71st died together, and suddenly. Lieutenant Morgan, who was presiding at the company meeting, sneered, "This is not a negro regiment," and the ballot was overwhelmingly adverse.

Lodge was offended deeply at Graham’s rejection, and said hotly that if the regiment was too good for Graham it was too good for him, and he would apply for his discharge at once. Lieutenant Morgan replied drily that "one pretext is as good as another if a man really doesn’t want to get into the fighting." This angered Harry to the point of profanity, but he thought no more of a discharge.

This blackballing of his name was Graham’s first rebuff, and it bore hard upon his spirits. He had never had an occasion to take an inventory of the elements in his blood, and this sudden jolt to his pride and eager patriotic impulses made him first angry, then heart-sick, then cynically scornful.

The morning after his mother had gone into the history of his ancestry, as far as she knew it, he sought an army recruiting station without delay. The gray-headed captain in charge did not betray the surprise he felt when Graham told him he desired to enlist,—his recruits, especially negroes, did not often come from the class to which Graham evidently belonged.

"May I join any branch of the service I prefer?" Hayward asked.

"Yes," said the officer; and added, as a fleeting suspicion entered his mind that this negro might intend passing himself off for a white man if possible, "that is, of course, infantry or cavalry. There are no negroes in the artillery."

Graham winced in spite of himself at this blunt reminder of his compromising blood, and mentally resented the statement as an unnecessary taunt. But he had determined to fight for the flag if he had to swallow his pride, and he was quickly put through all the necessary formalities of enlistment. His physical qualifications aroused the unbounded admiration of the examining surgeon, who called the old captain back into the room where Graham stood stripped for the examination, to look upon his perfect physique.

"I don’t know about that broken leg, though," the surgeon said. "How long has it been well?"

"I’ve had the full use of it for more than a month now," Graham answered. "It’s as good as the other, I think. It wasn’t such a bad break anyway."

"How did you break it?"

"In the Yale game at Cambridge last November."

"Say," the surgeon broke out, "were you the Harvard man that was laid out in that last rush?"

"Well, I saw that game," the surgeon went on; "and I say, Captain, be sure to assign this young fellow to a regiment that will get into the scrimmage. Nothing but the firing-line will suit his style."

"Which do you prefer, infantry or cavalry?" questioned the Captain briefly.

"As I’ve walked all my life, I think that I’ll ride now that I have the chance," Graham answered.

"Very well. You are over regulation weight and length for a trooper, but special orders will let you in for the war only."

"The fighting is all I want," said Graham

"All right," replied the officer. "I’ll send you to the 10th. They have always gotten into it so far, and likely nobody will miss seeing service in this affair."

Graham was given a suit of uniform and ordered to report morning and afternoon each day till his squad would be sent to join the regiment. He carried the uniform to a tailor to have it fitted to his figure, in which he took some little pride; and lost no time in getting into it when the tailor had finished with it, and hurrying to parade himself before his mother’s admiring eyes. That worthy woman was as proud of him as only a combination of mother love, womanly admiration for a soldier, and a negro’s surpassing delight in brass buttons, could make her.

Graham busied himself with the study of a book on cavalry tactics borrowed from the old sergeant at the recruiting station, and with that experienced soldier’s help he picked up in the ten days that elapsed before he was sent away no little knowledge of the business before him. He was an enthusiastic student, took great pains to perfect himself in the ceremonious side of soldiering, and delighted in the punctilios which the regulations prescribed. He went at every opportunity to witness the drills of the national guard troops who were preparing to leave for the front; and began to acquire the feeling of superiority which the regular has for the volunteer, and to sniff at the little laxities of the guardsmen, and with the air of a veteran comment sarcastically upon them to the old sergeant: till he finally persuaded himself that his good angel had saved him from these amateurs to make a real soldier of him.

Two days before Graham was sent away the 71st gave its farewell parade. Graham was there, of course. It was near sunset. The wide street was lined with spectators. The ranks were standing at rest, and the soldiers and their friends were saying all manner of good-byes. The band was blowing itself breathless in patriotic selections, and as it crashed into one after another soldiers and people cheered and shouted with gathering enthusiasm. Colonel Phillips, sitting on his horse by his wife’s carriage, said, "Orderly, tell Brandt to play ’Dixie,’" and, addressing the crowd of friends about him, "My mother was a South Carolinian," he added jocularly. When the band burst in on that unaccountably inspiring air the assemblage stood on its toes to yell and scream, and the tall Texas colour-sergeant came near letting "Old Glory" fall in the dust in his conscientious effort to split his lungs.

Graham stood quite near the Colonel and his party, and was much interested in watching both this man of whom he had heard Harry Lodge speak so enthusiastically, and his daughters, Miss Elise and Miss Helen, who were abundantly attractive on their own account without the added distinction of being children of their father. It was interesting to him to note the differing expressions of patriotic enthusiasm as it forced itself through the well-bred restraint of the elder sister or bubbled up unrestrainedly in the unaffected girlish spirits of Helen. Her spontaneous outbursts were irresistibly fascinating to him, and he could hardly avoid staring at her.

When the parade was formed, however, he was true to his new learning; and after the bugle had sounded _retreat_, and while the band was swinging slow and stately through that grandest and most uplifting of military airs, "The Star-Spangled Banner," he for the first time had uncovered and stood at _attention_, erect and steady as a young ash, his heart thumping like that of a young devotee at his first orison.

As he looked up when the band had ceased, he met the full gaze of Helen Phillips. She was looking straight at him, with a rapt smile upon her fresh young face. Then he remembered where he had seen that face before.

The novel opens not in the American South but in a brilliantly lighted armory in Ohio, where the 71st Ohio regiment awaits orders to enforce the Monroe Doctrine against Germany over Venezuela. This geopolitical framing immediately establishes a tension between national duty and regional identity. The narrative then shifts to a domestic scene of horse preparation, where a footman named Hayward silently corrects a young gentleman's equestrian errors. The movement from international crisis to intimate stable-yard comedy sets up a pattern of juxtaposition that recurs throughout the excerpts.

From Armory to Stable: Structural Juxtapositions

The opening chapter's rapid transition from a war-room atmosphere to a dialogue about spavin and snaffle-reins exemplifies Durham's structural method. The armory scene is dense with proper nouns—the 71st Ohio, the Hague Tribunal, Señor Emilio Mañana—and a timeline precise to January 191-. In contrast, the stable scene is immediate and sensory: a swollen knee, a broken rein, a laugh. This shift from abstract geopolitics to concrete horseflesh is not merely a change of setting but a deliberate structural hinge. The reader is asked to hold two scales of conflict simultaneously: the imperial standoff with Germany and the social friction between a footman and his social superior. The novel appears to build its drama from such juxtapositions, moving between public duty and private expertise.

The Horse as Recurring Image and Social Barometer

Horses are not merely transportation in these excerpts; they are instruments of character revelation and social commentary. Prince William, the mare, is described with care: his knee is struck against a hub, his bridle has only one rein, and his behavior under curb versus snaffle is debated. The horse becomes a test of knowledge. Bobby Scott, the young gentleman, mistakes spavin for a knee ailment, revealing his inexperience despite his claims to cavalry training. Hayward, the footman, corrects him with a laugh he must suppress. The image recurs when Bobby later lectures on horsemanship while Hayward silently judges. The horse thus carries the weight of class distinction: who knows the animal, who rides it, and who merely talks about riding. The recurring focus on tack and gait suggests that mastery over horses parallels mastery over social roles.

Movement Between Scenes: From Public to Private Space

The excerpts show a pattern of movement from formal, public spaces to more intimate, practical ones. The armory is a stage for national rhetoric; the stable is a backstage where expertise is demonstrated. The dialogue between Bobby and Helen occurs while riding, a semi-public activity, but the stable conversation with Hayward is a private negotiation of authority. The asterisks in the text mark a temporal jump, but the continuity of the horse theme binds the scenes. This movement is not random: each shift recalibrates the reader's understanding of who holds knowledge. The footman's final remark—"What he doesn't know is something considerable"—is delivered in solitude, a private verdict that the public scene could not accommodate. The novel's structure thus uses scene changes to expose the gap between appearance and competence.

Voice and Dialogue: The Weight of Unspoken Knowledge

Durham's dialogue carries much of the narrative's tension through what is left unsaid. When Bobby Scott claims that "the under-classes do not ride well," Helen refrains from pointing out that the hoi polloi cannot afford horses. Her silence is a choice that the text registers without comment. Similarly, Hayward's laugh is suppressed, his correction offered with a "Beg pardon, sir." The dialogue is layered with deference and irony. Bobby's quotations of Kipling and his talk of "feats of arms" contrast with his actual ignorance. The voice of the footman is precise and practical; the voice of the gentleman is confident but hollow. The excerpts suggest that the novel's interest lies not in overt conflict but in the quiet friction of expertise versus status, a friction that the structure of scene and image repeatedly brings to the surface.

Readers attentive to the novel's early scenes will find that Durham establishes a pattern of structural contrast—between public and private, national and local, stated and implied—that rewards close attention to transitions. The horse, as a recurring image, serves as a touchstone for character and social position. The excerpts offer no resolution, but they suggest a narrative that values the concrete detail over the grand pronouncement.

I keep returning to that editorial note about Durham’s stable-yard dialogue, the unhurried way it lets a scene breathe. It reminded me, oddly, of another book’s quiet patience—how character emerges from what’s left unsaid between pauses. Perhaps it’s the shared fondness for small, revealing moments. That same warmth lives in The Man Who Was Good — Text and Context, though its mood is darker, more withdrawn. Still, both feel like old friends one remembers without trying.

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  • ...
    Amanda Chad Howard - 1 month ago
    'The Call Of The South' is a decent read with an engaging storyline and colorful descriptions. The author's love for the region shines through. However, at times the pacing feels a bit slow, and some characters could have been developed more deeply. Still, it's a pleasant way to pass the time, especially if you enjoy nature-heavy settings.

  • ...
    Christine Sandra Rocha - 1 month ago
    I absolutely loved 'The Call Of The South'! It's a beautifully written adventure that captures the raw beauty and mystery of the Southern wilderness. The characters are so vivid and relatable, and the plot kept me hooked from start to finish. It's a perfect escape from the everyday, and I found myself dreaming of the landscapes long after I finished. Definitely a must-read for any adventure lover.

  • ...
    Susan Neal - 4 weeks ago
    I found 'The Call Of The South' quite disappointing. The plot is predictable and follows every cliché in the adventure genre. The writing is overly descriptive to the point of being tedious, and the characters are flat. The dialogue feels unnatural, and the ending is unsatisfying. There are much better books in this genre, so I'd recommend skipping this one.


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