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Art for Children Experiencing
Psychological Trauma

Art for Children Experiencing Psychological Trauma aims to increase under-

standing of art’s potential to enhance learning for children living in crisis. In
this groundbreaking resource, the first of its kind to focus specifically on the
connection between art education and psychological trauma in youth popu-
lations, readers can find resources and practical strategies for both teachers
and other school-based professionals. Also included are successful models
of art education for diverse populations, with specific attention to young
people who face emotional, mental, behavioral, and physical challenges, as
well a framework for meaningful visual arts education for at-risk/in-crisis
populations.

Adrienne D. Hunter, MEd, has over 35 years of experience teaching art

to at-risk, in-crisis, and/or incarcerated youth. She is a national presenter,
a past president of the interest group on Special Needs in Art Education
(SNAE) within the National Art Education Association, and a past mem-
bership co-chair for the Council for Exceptional Children’s Division of
Visual and Performing Arts Education (DARTS).

Donalyn Heise, EdD, is founder and co-director of Teacher Effectiveness

for Art Learning (TEAL), and is a leader at the local, state, and national
levels. She is a researcher, author, national presenter, and award-winning
educator with more than 30 years of experience teaching art to youth who
have experienced psychological trauma.

Beverley H. Johns, MS, is a professional fellow at MacMurray College.

She has worked in public schools with students with significant behavioral
problems for more than 33 years, presented international workshops, and
authored more than 20 special education books.
Art for Children
Experiencing Psychological
Trauma
A Guide for Art Educators and
School-Based Professionals

Edited by Adrienne D. Hunter,

Donalyn Heise, and Beverley H. Johns
First published 2018
by Routledge
711 Third Avenue, New York, NY 10017
and by Routledge
2 Park Square, Milton Park, Abingdon, Oxon, OX14 4RN
Routledge is an imprint of the Taylor & Francis Group, an informa business
 2018 Taylor & Francis
The right of Adrienne D. Hunter, Donalyn Heise, and Beverley
H. Johns to be identified as the authors of the editorial
material, and of the authors for their individual chapters, has
been asserted in accordance with sections 77 and 78 of the
Copyright, Designs and Patents Act 1988.
All rights reserved. No part of this book may be reprinted
or reproduced or utilised in any form or by any electronic,
mechanical, or other means, now known or hereafter invented,
including photocopying and recording, or in any information
storage or retrieval system, without permission in writing from
the publishers.
Trademark notice: Product or corporate names may be
trademarks or registered trademarks, and are used only for
identification and explanation without intent to infringe.
Library of Congress Cataloging-in-Publication Data
Names: Hunter, Adrienne D., editor.
Title: Art for children experiencing psychological trauma : a guide
for art educators and school-based professionals / Adrienne D.
Hunter, Donalyn Heise, and Beverley H. Johns, editors.
Description: New York, NY : Routledge, 2018. | Includes
bibliographical references.
Identifiers: LCCN 2017052876 (print) | LCCN 2017054105
(ebook) | ISBN 9781315301358 (eBook) | ISBN
9781138236943 (hbk) | ISBN 9781138236950 (pbk) |
ISBN 9781315301358 (ebk)
Subjects: LCSH: Art therapy for children. | Psychic trauma in
children—Treatment. | Art in education—Therapeutic use.
Classification: LCC RJ505.A7 (ebook) | LCC RJ505.A7 A75
2018 (print) | DDC 618.92/891656—dc23
LC record available at https://lccn.loc.gov/2017052876

ISBN: 978-1-138-23694-3 (hbk)

ISBN: 978-1-138-23695-0 (pbk)
ISBN: 978-1-315-30135-8 (ebk)

Typeset in Bembo
by Swales & Willis Ltd, Exeter, Devon, UK
Dedication

This book is dedicated to all students who have experienced

psychological trauma, and to all art educators who nurture
the strengths, talents, and hopes of all students.
Contents

Biographies of Editors and Contributors x

Acknowledgments xix

PART I
Overview of Behaviors: Who Are the Children in
Crisis? Definitions and Demographics 1

1 Introduction and Purpose of this Book 3

ADRIENNE D. HUNTER, DONALYN HEISE, AND
BEVERLEY H. JOHNS

2 Children Exposed to Trauma: Children in Crisis 6

LISA KAY

3 Who Are Homeless Children? 15

DONA ANDERSON AND MATTHEW ADAMS

4 Child Abuse: Signs and Reporting Procedures—

What the Art Educator Should Know 37
ORIANA C. HUNTER, DONALYN HEISE, BEVERLEY H. JOHNS, AND
ADRIENNE D. HUNTER

5 Behavioral Characteristics of Children Living in

Crisis and the Impact on Learning 53
BEVERLEY H. JOHNS

6 LGBTQ Trauma + Art Education 60

MINDI RHOADES
viii Contents
7 The Role of the Art Educator in Meeting the
Needs of Students Who Are Victims of
Human Trafficking 76
BEVERLEY H. JOHNS AND ADRIENNE D. HUNTER

8 Alternative Educational Services for Students

Who Have Experienced Psychological Trauma 83
ATHENA PETROLIAS, BEVERLEY H. JOHNS,
AND ADRIENNE D. HUNTER

9 Mental Health Issues and the Art Classroom 93

STEVEN KELLY AND DARLA DAWN ABSHER

10 Neurobiological Impact of Trauma 104

CARLOMAGNO PANLILIO, ELIZABETH HLAVEK,
AND AMANDA FERRARA

PART II
Art Education in Practice 115

11 Creating a Safe and Supportive Classroom

Environment 117
BEVERLEY H. JOHNS, DONALYN HEISE,
AND ADRIENNE D. HUNTER

12 Routines, Relationships, and Reinforcement 125

KARI CADDELL

13 Integrating Art and Academics: A Collaborative

Approach 131
DONALYN HEISE, ADRIENNE D. HUNTER,
AND BEVERLEY H. JOHNS

14 Building Relationships through Art: Understanding

the Potential of Art-Making for Students
Experiencing Psychological Trauma 150
LISA KAY AND SUSAN D. LOESL

15 Yellow Bricks: An Approach to Art Teaching 157

LISA KAY
 Contents ix
16 Non-Traditional Educational Settings, Center
Schools, and Students with Behavioral Disorders 167
JOSEPH A. PARSONS, ADRIENNE D. HUNTER, AND
DONALYN HEISE

17 Art and Youth Who Are Incarcerated 180

ADRIENNE D. HUNTER, BEVERLEY H. JOHNS,
AND DONALYN HEISE

18 Where have we come from? Who are we? Where are

we going? A Ceramic Mural for and by
Students of the Rhode Island Training School 191
PETER J. GEISSER

19 Prison Art: A Recreational Model 200

ANNEMARIE SWANLEK, BEVERLEY H. JOHNS, AND
ADRIENNE D. HUNTER

PART III
Identifying Future Directions 217

20 Pre-Service Art Teacher Preparation and

Professional Development 219
JULIANN B. DORFF, LISA KAY, LYNNE J. HOROSCHAK, AND
DONALYN HEISE

21 Community-Based Art Programs, Collaborative

Partnerships, and Community Resources for
At-Risk Students 248
LAURA BAILEY SAULLE, JOSEPH LAGANA, ROBIN CRAWFORD,
AND BARBARA DUFFIELD

22 The Deep Joy of Teaching Art to Students

Who Have Experienced Trauma 271
LYNNE J. HOROSCHAK

Index 287
Biographies of Editors and
Contributors

Adrienne D. Hunter, MSEd, Special Education, is a pioneer in teach-

ing art to in-crisis, at-risk, and incarcerated students. Recently retired,
she was an art teacher in the Allegheny Intermediate Unit Alternative
Education Program in Pittsburgh, Pennsylvania, for over 35 years. Ms.
Hunter designed and implemented fully inclusive art curriculums for stu-
dents aged 6 to 21, from homeless shelters, crisis centers, alternative edu-
cation high schools, and maximum-security institutions. Through her
sensitive and innovative curricula, she has addressed within her classroom
the issues of gangs, domestic violence, homelessness, substance abuse,
mental illness, and death. At the same time, she created a safe haven for
inner-city youth through art. Ms. Hunter’s commitment to education
and advocacy extends far beyond the workplace. She has reached across
racial, generational, economic, and community boundaries to form part-
nerships with colleges and universities, senior citizen centers, day care
centers, local merchants, and community agencies throughout Allegheny
County. Her students have created quilts for children with AIDS; murals
that decorate schools, senior centers, and juvenile detention centers; and
poetry and art books to help students on their journeys toward healing.
Ms. Hunter has regularly enlisted local newspapers and merchants to gain
publicity for her students’ positive contributions to their communities.
In addition, as an advocate for art education for alternative education
and for gifted education, she has spoken at Pennsylvania state legisla-
ture hearings. Her professional training reflects her interests in both art
education and special education. Ms. Hunter co-authored “Identifying
the Visually Gifted: A Case Study” in Art, Science, and Visual Literacy
and the “Teacher’s Assessment Resource Booklet” for the Pennsylvania
Art Education Association (PAEA). She also co-authored “Students
with Emotional and/or Behavior Disorders” in National Art Education
Association’s (NAEA) Reaching and Teaching Students with Special Needs
through Art. She is a nationally recognized presenter and an internationally
exhibited fiber artist and is the recipient of numerous awards and grants,
including a Fulbright Memorial Fund Teacher Scholarship to study art
and education in Japan. In 2016, she was awarded the NAEA, VSA,1
 Biographies of Editors and Contributors xi
Council for Exceptional Children, Beverly Levett Gerber Special Needs
Art Educator Lifetime Achievement Award. In 2008, she became the
first recipient of the NAEA/Special Needs Art Educator of the Year
Award. In 1996, she was awarded the PAEA Outstanding Secondary
Art Educator of the Year Award. Ms. Hunter is a Past- President of the
NAEA/Special Needs Art Educators. She holds a Bachelor of Fine Arts
from Pratt Institute, Brooklyn, New York, and a Master of Education
from Duquesne University, Pittsburgh, Pennsylvania, and continues
post-graduate work in art education.

Donalyn Heise, EdD, is the Founder and Co-Director of Teacher

Effectiveness for Art Learning, an affiliate of Advanced Learning, Inc., and
retired Associate Professor of Art Education at the University of Memphis,
Tennessee. She has been an artist and educator for more than 30 years and
has taught art in K-12 public and private schools and several universities.
Her research focuses on art teacher preparation, art and resilience, and
community art collaborations. Dr. Heise has designed and conducted over
a hundred professional development workshops and presentations at the
state, regional, and national levels. She served as Director of the Center
for Innovation in Art Education, Director of the Paul R. Williams Project
Education, President of the Tennessee Art Education Association, President
of the Nebraska Art Teachers Association, and founding board member
of the Nebraska Alliance for Art, and Education Advisory Committee
of the Dixon Gallery and Gardens. As Art and Technology Coordinator
for ConferNet, she designed, implemented, and evaluated professional
development for six school districts, and coordinated one of the nation’s
first virtual art-based academic K-16 conferences funded by the United
States Department of Education. Awards and accomplishments include
the 2013 Tennessee Special Needs Art Educator of the Year Award; 2010
Tennessee Art Educator of the Year; 2010 NAEA Southeastern Region
Higher Education Award; 2009 National Art Education Association, VSA,
Council for Exceptional Children, Beverly Levett Gerber Special Needs
Lifetime Achievement Award; 2007 Tennessee Higher Ed Art Educator
of the Year; and 1997 Nebraska Art Teachers’ Association Supervisor/
Administrator of the Year Award. Selected publications include: “Preparing
Competent Art Teachers for Urban Schools,” “The Indispensable Art
Teacher,” “Differentiation of Instruction,” “Anticipatory Sets for Art
Instruction,” “Perspectives on the Use of Internet in Art Classrooms,”
“Creating Interaction in an Online Distance Learning Environment,”
“Best Practices in Classroom Management,” “Implementation of a
Combination of Traditional and Online Professional Development to
Improve Teacher Competencies in the Use of Computer Technology,”
“Steeling and Resilience in Art Education,” “Fostering Resilience through
Art,” and “Fostering Resilience in an Intergenerational Art and Literacy
Program in a Shelter for Families Who Are Homeless.”
xii Biographies of Editors and Contributors
Beverley H. Johns, MSEd, Special Education, is a learning and behavior
consultant and Professional Fellow for MacMurray College, Jacksonville,
Illinois, where she teaches courses on Special Education Law, Adaptations
for the General Education Classroom, emotional behavioral disorders
(EBD), and Diverse Learners. She has 40 years’ experience working with
students with learning disabilities (LD), and/or EBD within the public
schools. She supervised LD and EBD teachers in 22 school districts; was
the founder and administrator of the Garrison Alternative School for
students with severe EBD in Jacksonville, Illinois; and later coordinated
staff development for the Four Rivers Special Education District. Johns
is the lead author of 15 books (and co-author of four others). She is co-
author with Janet Lerner of the seminal college LD text book, Learning
Disabilities and Related Disabilities (13th edition). She is the 2000 recipient
of the International Council for Exceptional Children (CEC) Outstanding
Leadership Award, Past International President of the Council for
Children with Behavioral Disorders, Past President of the CEC Pioneers,
Past Secretary and Governmental Relations Chair for the Division for
Learning Disabilities, and the 2007 Recipient of the Romaine P. Mackie
Leadership Service Award. She is listed in Who’s Who in America, Who’s
Who of American Women, Who’s Who in American Education, and
Who’s Who among America’s Teachers. She has presented workshops
across the United States and Canada; in San Juan, Puerto Rico; Sydney,
Australia (keynote); Warsaw, Poland; Wrocław, Poland (keynote); Hong
Kong, China; Lima, Peru; and Riga, Latvia. She is a graduate of Catherine
Spalding College in Louisville, Kentucky, and received a fellowship for
her graduate work at Southern Illinois University (SIU) in Carbondale,
Illinois, where she received a Master of Science in Special Education. She
has done post-graduate work at the University of Illinois, Western Illinois
University, SIU, and Eastern Illinois University.
Darla Dawn Absher, PsyD, LPC-S, is a Doctor of Psychology and a
Licensed Professional Counselor-Supervisor and currently works as direc-
tor of admissions for a large psychiatric hospital. She also has a successful
private practice in Austin, Texas. Dr. Absher performs pro bono work
around Austin, providing education on suicide awareness, suicide pre-
vention, and crisis negotiations. She earned her Bachelors in Psychology,
Master of Arts in Counseling, and a Master of Arts in Human Services all
from St. Edward’s University, Austin. She earned her Doctor of Clinical
Psychology from Argosy University in Dallas, Texas.
Matthew Adams, MA, Geography, currently conducts policy research
for the Fire Department of New York City. He worked for seven years
as a Principal Policy Analyst at the Institute for Children, Poverty, and
Homelessness, where he led a research team that analyzed public poli-
cies impacting homeless families and their children across the United
States. Mr. Adams specializes in spatial analysis and statistics and holds
 Biographies of Editors and Contributors xiii
a Master of Arts in Geography from Boston University, Massachusetts,
and a Bachelor of Arts in Geography from Clark University, Worcester,
Massachusetts.
Dona Anderson, MPA, Environmental Science and Policy, is
the Deputy Executive Director at the New York Early Childhood
Professional Development Institute, where she is responsible for pro-
grammatic and operational oversight, as well as communications. She
coordinates the Institute’s internal data collection and evaluation efforts
and represents the Institute at community and university events. Prior
to her work at the Institute, she was the Director at the Institute for
Children, Poverty, and Homelessness, where she led a team of research-
ers in exploring the impacts of poverty and homelessness on children,
students, and families in New York City and across the United States.
She also supervised early childhood care and education programs, after-
school programs, residential summer camps, and a family support pro-
gram as the Director of Programs and Development at Homes for the
Homeless, a homeless services provider. Ms. Anderson has presented at
national conferences and co-authored a variety of public policy reports
on the topics of child poverty, homelessness, early childhood, and trauma.
She holds a Master in Public Administration from Columbia University’s
School of International and Public Affairs and a Bachelor Degree from
Claremont McKenna College, Claremont, California.
Laura Bailey Saulle, BFA, Printmaking, has held a variety of roles in
the fields of education and youth development, with a focus on home-
less and unaccompanied youth. She currently works in the field of
youth workforce development. For several years, Ms. Bailey served as
Program Director and then Assistant Executive Director at the Homeless
Children’s Education Fund, where her responsibilities included creat-
ing and managing out-of-school-time arts and enrichment programs for
homeless children and youth living in the Greater Pittsburgh region. After
earning a BFA in printmaking from The Pennsylvania State University,
University Park, Laura completed a Fulbright teaching fellowship in Italy
and taught youth art classes at the Carnegie Museum of Art in Pittsburgh.
Kari Caddell, MS, Art Therapy, is a registered and board-certified art
therapist at the Integrated Learning Program in Omaha Public Schools
(OPS), Nebraska, an alternative program for children with special edu-
cational needs in the areas of learning and behavior. She has worked
in OPS since 2002. She is a licensed mental health practitioner for the
state of Nebraska and a licensed Professional Counselor. Ms. Caddell has
experience working with adults, adolescents, and children in groups and
individually. She is a practicing visual mixed-media artist.
Robin Crawford, BA, is a skilled fiber artist with a background in social
work, youth counseling, and teaching artists. She is presently sharing her
xiv Biographies of Editors and Contributors
love for art while working at The Maker’s Clubhouse, an out-of-school-
time program for elementary students in Pittsburgh, Pennsylvania. She
received a Bachelor of Arts with a minor in psychology and a certifi-
cate in counseling from Carlow University, Pittsburgh, Pennsylvania.
Ms. Crawford received a grant from the Pittsburgh Foundation-Howard
Heinz Endowments Multicultural Arts Initiative to support a month-
long exhibit at the Kingsley Association. Her quilts were included
in the Senator John Heinz History Center’s 2003 exhibit, “Bold and
Improvisation: 120 Years of African American Quilts.” She also was one
of 20 contemporary quilters selected that year for the highly acclaimed
traveling exhibit, “African American Quilters and Preservation of
Western Pennsylvania.”
Juliann B. Dorff, MA, Teaching, is a senior lecturer teaching art educa-
tion in the School of Art at Kent State University. She is the 2015 Ohio
Higher Education Division Award winner presented by the Ohio Art
Education Association (OAEA) and a 2014 Outstanding Art Educator for
the Northeast Region of the OAEA. Ms. Dorff was an invited participant
at Examining the Intersection of Arts Education and Special Education:
A National Forum, sponsored by the Kennedy Center in the summer of
2012, and has a white paper published in the resulting work: The Intersection
of Arts Education and Special Education: Exemplary Programs and Approaches.
She has presented extensively at the OAEA, National Art Education
Association (NAEA), and the Council for Exceptional Children confer-
ences. She is a contributing author in the book Understanding Students with
Autism through Art (2010) published by NAEA,
Barbara Duffield, BS, Political Science, is a founder and Executive
Director of SchoolHouse Connection. She is the former Policy Director
for the National Association for the Education of Homeless Children
and Youth (NAEHCY). NAEHCY, a national membership association,
serves as the voice and the social conscience for the education of children
and youth in homeless situations. Ms. Duffield’s involvement in home-
less issues began in 1990 as a tutor for homeless children in Washington,
D.C. She subsequently joined the National Coalition for the Homeless
(NCH) and served as Director of Education for NCH from 1994 to
2003, working closely with educators, service providers, federal agen-
cies, and Congressional offices to strengthen policy and practice on chil-
dren’s issues. Ms. Duffield has conducted hundreds of trainings around
the United States for school districts, community organizations, and
local, state, and national groups to assist in the implementation of the
McKinney-Vento Act.
Amanda Ferrara, BS, Psychology; BA, Philosophy, has been con-
ducting cognitive and educational research for nearly a decade. She has
worked as a public school teacher as well as a research assistant benefiting
 Biographies of Editors and Contributors xv
pre-service teachers and military families. She is currently a doctoral stu-
dent in the educational psychology program at the Pennsylvania State
University, University Park. Ms. Ferrara earned a Bachelor of Science in
Psychology and a Bachelor of Arts in Philosophy from the University of
Pittsburgh, Pennsylvania.
Peter J. Geisser, HonD, Fine Arts, teaches art education majors at
the University of Massachusetts, Dartmouth, and gives workshops and
lectures on art and special education nationally. He was the K-12 art
teacher at the Rhode Island School for the Deaf from 1973 to 2003. He
co-authored, with Maura Geisser, a chapter in the National Art Education
Association’s best-selling publication Reaching and Teaching Students with
Special Needs through Art. Mr. Geisser created and directed the award-­
winning “Circle of Clay” project for VSA Arts Rhodes Island at the
Hasbro Children’s Hospital, Providence, and his stained glass commissions
are in churches, hospitals, homes, and buildings around New England.
Elizabeth Hlavek, MA, Art Therapy; ATR-BC; and LCPAT, is an
art therapist practicing in Annapolis, Maryland; an adjunct instructor in
psychology at Anne Arundel Community College; and a doctoral can-
didate in art therapy at Mount Mary University. In her clinical practice,
she works primarily with adolescents and adults struggling with eating
disorders and body image concerns. Her academic research explores the
relevance of art work created in the Holocaust to art therapy theory and
practice. In 2012, she worked with state legislators to develop the first
clinical art therapy license in Maryland and previously sat on the Maryland
Board of Professional Counselors and Therapists. Ms. Hlavek is an active
member of the American and Maryland Art Therapy Associations. She
completed her Master in Art Therapy at Pratt Institute, Brooklyn, New
York, and earned a BFA from Carnegie Mellon University, Pittsburgh,
Pennsylvania.
Lynne J. Horoschak, MAEd, earned her Master in Education, plus sixty
credits from Temple University; University of the Arts, Philadelphia,
Pennsylvania; and University of Alaska, Fairbanks. She has been the dis-
tinguished Professor and Program Manager of Master in Art Education
with an Emphasis in Special Populations, and Professor and Chair of Art
Education at Moore College of Art and Design, Philadelphia, Pennsylvania.
She has received many honors throughout her career, including: The
Bob and Penny Fox Distinguished Professor Award for Moore College
of Art and Design; the Kassandara Madison Art Education Leadership
and Inspiration Award from the Picasso Project; the Pennyslvania Art
Education Association Award for Outstanding Art Educator in Higher
Education, 2008; and The Educators 3E Award from West Chester
University for Educational Excellence and Entrepreneurship. From 2013
to 2014, she was the President of the National Art Education Association/
xvi Biographies of Editors and Contributors
Special Needs Art Education. She is a founding officer of the DARTS
Division of the Council for Exceptional Children.
Oriana C. Hunter, MD, PhD, is currently completing her residency in
General Surgery at Lehigh Valley Health Network in the Department
of Surgery, where she often cares for victims of traumatic child abuse.
Previously, she worked at the University of Pittsburgh Medical Center’s
(UPMC) Artificial Heart Program as a clinical biomedical engineer and
she performed research at the UPMC Hillman Cancer Institute. She has
lectured nationally and written numerous scientific publications. She has
taught the principles of adult and pediatric mechanical circulatory sup-
port and the history of artificial organs at the collegiate and professional
level. She has volunteered at the Children’s Hospital of Pittsburgh of
UPMC’s Child Life Program. Dr. Hunter’s awards include the 2007
UPMC ACES Award for Commitment and Excellence in Service. Dr.
Hunter graduated from the Massachusetts Institute of Technology with
her Bachelor of Science in mechanical engineering, before going on to
earn her doctorate in bioengineering from the University of Pittsburgh
and her M.D. from the University of Pittsburgh School of Medicine.
Lisa Kay, EdD, Art Therapy, is Assistant Professor and Art Education
Area Head, and Graduate Coordinator at the Tyler School of Art/Center
for the Arts at Temple University in Philadelphia, Pennsylvania. In addi-
tion to teaching undergraduate and graduate art education at Tyler, Dr.
Kay has taught art therapy at the School of the Art Institute of Chicago.
In 2011–2012, she was awarded a Fulbright Interdisciplinary Research/
Teaching Fellowship in Hungary that combined art therapy, art educa-
tion, and arts-based qualitative research. A board-certified art therapist,
Dr. Kay’s research and publications concern the intersections and col-
laborations between contemporary art education and school art therapy,
with special attention to students with special needs, symbols and meta-
phors of beauty and ugliness in adolescents’ drawings, and the use of
creative arts and visual imagery as qualitative research methods.
Steven Kelly, MSW, currently serves as a CEO for a large psychiatric hos-
pital. Prior to that, he worked as Vice President of Customer Relations
for Beacon Behavioral Health in Baton Rouge, Louisiana. For the last 26
years Mr. Kelly has worked in the field of psychiatry, with the majority
of his experience in acute psychiatric mental health systems, as a mental
health technician, social worker, community liaison, or management.
He earned his Bachelor of Arts degree in Psychology from Louisiana
State University, and his Master of Social Work from the University of
Nebraska at Omaha.
Joseph Lagana, EdD, is the founder and CEO of the Homeless Children’s
Education Fund, a 501(c)3 not-for-profit organization, whose mission
is to provide advocacy, community engagement, and direct service
 Biographies of Editors and Contributors xvii
programs that support the education of children and youth experienc-
ing homelessness in Allegheny County, Pennsylvania. In his long career
as an educator in the Penn Hills and North Allegheny school districts,
Dr. Lagana was a classroom teacher, counselor, and administrator before
becoming superintendent of the Northgate School District. From 1992
to 1999, he was Executive Director of the Allegheny Intermediate Unit
(AIU) comprised of 42 school districts. Upon his retirement from the
AIU, he was named Executive Director Emeritus.
Susan D. Loesl, MA, ATR-BC, has been an adaptive arts specialist/
art therapist for the Milwaukee Public Schools, Milwaukee, Wisconsin,
for the past 26 years. She has also worked in nursing homes with devel-
opmentally disabled adults, with adjudicated youth in prison, and with
adolescent males and females in residential treatment centers. Ms. Loesl is
an Art Therapy and Graduate Education Adjunct Faculty at Mount Mary
University, Milwaukee, Wisconsin, and a presenter at many national
conferences related to persons with disabilities and adaptations of the
arts. Ms. Loesl is currently working on her own book on adaptive arts
strategies, tools, and techniques.
Carlomagno Panlilio, PhD, Human Development, is currently inves-
tigating the important role that teachers can play in promoting the aca-
demic achievement for students with a history of maltreatment. Also,
using a longitudinal latent variable framework, his research focuses on
understanding the developmental trajectories of school readiness domains
(i.e., emotion regulation and language) across the preschool years for
maltreated children. He is studying how child welfare-specific contextual
factors of placement stability and caregiver quality at different time points
influence development, and how these different developmental trajec-
tories predict later academic achievement. Additionally, Dr. Panlilio is
interested in examining how maltreatment alters students’ motivation
and engagement in the classroom at later ages, and how these domains
influence academic performance. Dr. Panlilio received his doctorate
at the University of Maryland, College Park, with a specialization in
Developmental Science and a Certificate in Measurement and Statistics.
Joseph A. Parsons, BFA, MSEd, Guidance and Counseling, has been a
classroom and art teacher exclusively of severely emotionally/behaviorally-
disabled (ED/EBD) students for 37 years. He has worked in both resi-
dential and day treatment programs for ED/EBD students in Des Moines,
Iowa, and Broward County, Florida. He has been a guest speaker for pro-
fessors at Broward Community College and Florida Atlantic University.
He has also presented numerous workshops in his schools, as well as being a
presenter in Iowa and at the National Art Education Association’s national
conventions. He is a long-time member of Special Needs in Art Education,
and has served as an elected officer in the organization.
xviii Biographies of Editors and Contributors
Athena Petrolias, MA, Teaching, is the Director of the Alternative
Education Program (AEP) at the Allegheny Intermediate Unit, an edu-
cational service agency located in Homestead, Pennsylvania. The AEP,
operating for over 54 years, is responsible for educating youth at the
Allegheny County Jail, Shuman Detention Center, Auberle Inc., and at
three Pennsylvania Department of Education approved alternative schools
for disruptive youth. She serves as a seven county Regional Coordinator
for Alternative Education for Disruptive Youth for the Pennsylvania
Department of Education and has been a board member of the Pennsylvania
Academic and Career/Technical Training Alliance. She is also responsible
for a Truancy Prevention Program in collaboration with local school dis-
tricts, the Allegheny Department of Human Services, Juvenile Probation,
and the Pennsylvania Truancy Round Table.
Mindi Rhoades, PhD, is an Assistant Professor in the Department of
Teaching and Learning in the College of Education at the Ohio State
University, Columbus, Ohio. Her research includes collaborations with
colleagues, teachers, and artists on interdisciplinary arts-based research,
teaching, learning, and activism. Dr. Rhoades combines interests in
multimedia art-making with a passion for issues of equity, diversity,
and social justice. Her previous research and activism includes working
with digital video artist Liv Gjestvang and a group of LGBTQ youth in
Columbus, Ohio. They planned, produced, and distributed a documen-
tary, 20 Straws: Growing Up Gay in the Midwest. In 20 Straws, LGBTQ
youth tell their own stories, in contrast to LGBTQ adults reflecting on
stereotypes, fears, and mostly negative experiences.
AnneMarie Swanlek, MA, Teaching and K-12 Public School Principal,
is a leader in education administration for incarcerated youth and incarcer-
ated adult students. For the past 16 years, she has been employed with the
Pennsylvania Department of Corrections, and currently is the Education
Administration Manager for the Bureau of Corrections Education.
While employed in corrections, she was the school principal at the State
Correctional Institution (SCI) Somerset (which has both young and adult
male inmates), SCI Laurel Highlands (which has geriatric and terminally ill
male inmates), and SCI Cresson (adult male inmates and those with mental
health issues). She was also a teacher at SCI Pine Grove (male young adult
offenders). She has completed the Pennsylvania Inspired Leadership pro-
gram and the Pennsylvania Commonwealth Mentor Program.

Note
1 Founded in 1974, and named Very Special Arts in 1985, the organization was
renamed VSA in 2010. In 2011, it merged with the Kennedy Center’s Office on
Accessibility to become the Department of VSA and Accessibility at the John F.
Kennedy Center for the Performing Arts.
Acknowledgments

The idea for this book emerged from years of struggling to meet the needs
of all students. With so few resources available in print form on art for
young people who have experienced psychological trauma, we looked to
each other, as professionals in the field, to share effective, successful ideas
and strategies.
We appreciate the opportunity given to us by Taylor & Francis/
Routledge, to extend the benefits of our successful, innovative teaching
strategies to a much wider audience.
Sincere thanks to our contributing authors, who graciously shared their
insights.
Our appreciation to Joe Lagana for reminding us of the disconnection
between research and classroom practice.
A special thanks to Beverly Gerber, who brought the three of us together
to make this book a reality.
We can never thank Cathy Gerhold enough for completing the over-
whelming job of copyediting. Not only was she thorough but consistently
demonstrated kindness, compassion, and encouragement.
Thank you to Mike Podlipsky for his IT assistance.
Part I

Overview of Behaviors
Who Are the Children in Crisis?
Definitions and Demographics
1 Introduction and Purpose of
this Book
Adrienne D. Hunter, Donalyn Heise, and
Beverley H. Johns

Many children are living in crisis, struggling with trauma from natural or
environmental disasters, domestic or societal violence, bullying, homeless-
ness, human trafficking, or from lack of acceptance of sexual preference.
Those who have experienced trauma may have been in the criminal justice
system or have family members who are incarcerated. Children who have
experienced trauma are less likely to succeed in school and are at risk of
dropping out of school altogether (Steele & Kuban, 2002).
Children may suffer different types of trauma, including simple, or single-­
incident, trauma or exposure to repeated traumatic experiences over a pro-
longed period of time (Lawson & Quinn, 2013). More than one-quarter
of children between birth and the age of five who have entered the child
welfare system exhibit trauma symptoms. In 2011, 3.4 million referrals alleg-
ing child abuse were made to the child welfare system (Fusco & Cahalane,
2014). Childhood trauma results in a child feeling an overwhelming sense of
terror and powerlessness (Steele & Kuban, 2002).
The number of children who are homeless is staggering. In 2009, the
National Center on Family Homelessness reported that 1.6 million children
a year were homeless, and the average age of a homeless child was 7 years;
59% of homeless people living in shelters are under age 18 (Substance Abuse
and Mental Health Services Administration [SAMHSA], 2011). At least
7% of all fifth-graders have lived in a shelter or car at some point in their
young lives. Children who are homeless are often at risk of poor health
and negative academic and social outcomes (Moore & McArthur, 2011).
They are often exposed to other traumatic circumstances such as domestic
violence, community crime, and weak family structures. They are subjected
to repeated traumatic experiences. Many have family members who struggle
with mental health issues. Children who are homeless often lack the trans-
portation and resources necessary for full participation in school.
Racial minorities and students with disabilities are disproportionately
represented in incarceration. Students with disabilities comprise 8.6% of
public school children, yet make up about 32% of youth in juvenile deten-
tion centers (Elias, 2013); 15% of jail inmates were homeless at some point
in the year prior to their incarceration (SAMHSA, 2011), and 49% of
homeless adults reported spending five or more days in a city or county jail.
4 A. D. Hunter, D. Heise, and B. H. Johns
It is critical that educators be trauma-informed and understand the impact
that trauma has on childhood development and behavior. Whatever the
type of school setting the child is in, art educators have the capacity to meet
the needs of children who have suffered trauma.
Children who have experienced trauma may act out and may exhibit other
behaviors such as withdrawal, fear, or agitation. Their behavior communi-
cates the reality of their world and the experiences they have encountered.
The arts can play a vital role in the education of children who have
suffered trauma, are at-risk, homeless, and/or incarcerated. Effective inter-
ventions involve children in their own healing so they can feel safe and
empowered (Steele & Kuban, 2002). Yet many teachers feel ill-prepared to
address the needs of these vulnerable populations. Those who are working
with children need to understand effective interventions to help children
heal (Walkley & Cox, 2013). This book provides an array of teaching tech-
niques throughout, and each chapter features a summary of teaching tips.
Currently, very few resources exist relevant to art education for children
who have suffered psychological trauma. This book provides insights for
understanding and offers research-based best practices for enhancing the
academic potential of this growing population.
The purposes of this book are to:

•• increase understanding of the role of visual art education for enhancing

learning for children living in crisis;
•• provide resources for pre-service teacher candidates and professional
development for art teachers, general educators, school counselors, and
social workers;
•• help art educators improve their ability to recognize students living in
turmoil, and design effective, appropriate instruction, and classroom
management, to meet their needs;
•• contribute to the field of art education situated within social-cultural
contexts;
•• offer successful models of visual art education for diverse K-12 class-
rooms with specific attention to youth who face emotional, mental,
behavioral, and physical challenges;
•• describe a framework for meaningful visual art education for at-risk
populations; and
•• share the expertise of art educators, building on their experiences and
best practices.

This book is organized in three sections: Part I gives an overview of behav-

iors, including definitions and demographics of children who have expe-
rienced trauma. It provides a framework of information for understanding
children who are homeless or highly mobile, children who have suffered
abuse, the human trafficking of children, and children who are incarcerated.
An additional chapter provides recent brain research and implications for
 Introduction and Purpose of this Book 5
working with children exposed to trauma. Part II highlights art education
in practice, offering strategies for creating a safe and supportive environment
in the art room, as well as successful techniques for teaching art to children
living in crisis. Part III identifies future directions for meeting the needs
of all students, and includes information for successful collaborations and
community-based art programs. We conclude with stories of success and
how art teachers can make a difference in the lives of students who have
suffered trauma.

References
Elias, S. (2013). An after school program for at-risk youth: A grant proposal project
(unpublished doctoral dissertation, California State University, Long Beach).
Fusco, R. & Cahalane, H. (2014). Young children in the child welfare system:
What factors contribute to trauma symptomology? Child Welfare, 92(5), 37–58.
Lawson, D. & Quinn, J. (2013). Complex trauma in children and adolescents:
Evidence-based practice in clinical settings. Journal of Clinical Psychology: In Session,
69, 497–509.
Moore, T. & McArthur, M. (2011). ‘Good for Kids’: Children who have been
homeless talk about school. Australian Journal of Education, 55(2), 147–160.
National Center on Family Homelessness, Substance Abuse and Mental Health
Services Administration (2011). Current statistics on the prevalence and
characteristics of those experiencing homelessness in the United States.
Steele, W. & Kuban, C. (2002). Healing trauma, building resilience: SITCAP in
Action. Reclaiming Children and Youth, 22(4), 18–20.
Walkley, M. & Cox, T. (2013). Building trauma-informed schools and communities.
Children and Schools, 35(2), 123–126.
2 Children Exposed to Trauma
Children in Crisis
Lisa Kay

This chapter provides an overview of information relevant to art educators

concerning children exposed to traumatic events or who are in crisis, includ-
ing different types of trauma and children’s reactions to trauma. The at-risk
spectrum is discussed, including definitions of the term as well as approaches
to and alternative models for viewing students with such a label. A com-
parison of practices of an art teacher and art therapist who may work with
children exposed to trauma is also covered. The chapter concludes with what
art education can offer and what art teachers can do to assist children exposed
to trauma or in crisis.

Introduction
When we think about children, trauma, and crisis, many word associations
may come to mind: divorce, neglect, abuse, severe accidents, violence,
homelessness, poverty, fire, and even death. Children are typically exposed
to at least one traumatic event by age 16, but many will experience multi-
ple traumatic events by that age (American Psychological Association, 2008;
Costello, Erkanli, Fairbank, & Arnold, 2002). Some of these students may
be homeless, in-crisis, or at-risk; often these students have had traumatic
experiences that affect their ability to learn and function in social settings like
schools and art rooms. Similar to children who experience war, Garbarino,
Kosteiny, and Dubrow (1991) report that a high percentage of urban youth
exposed to violence and living in poverty develop post-traumatic stress dis-
order (PTSD). They may also exhibit “fight or flight behavior” as a result
of adverse childhood experiences, recurring trauma, or toxic stress.
Unfortunately, trauma exists in our lives, and surviving traumatic events
is often scary. The term “trauma” is broad and complex. It can describe
a wide range of experiences and events that can have a profound impact
on students’ social, emotional, and cognitive learning. Traumas range in
severity, duration, and reactions and can include serious accidents, like a car
wreck; illness; sexual or physical assault and abuse; violence (community,
school shooting, terrorism, war); or a natural disaster like a fire, tornado,
hurricane, or earthquake (National Center for PTSD, 2013). A trauma
 Children Exposed to Trauma 7
could be one event like the death of a special pet for a young student, the
loss of a sibling for a middle school student, or the suicide of a peer for a
high school student. According to the U.S. Centers for Disease Control
(2003), a traumatic event is “marked by a sense of horror, helplessness, seri-
ous injury, or the threat of serious injury or death” (p. 1). These events are
coupled with an overpowering inability to cope (van de Kolk, Bessel, &
Fisher, 1995, as cited in Eisen & Goodman, 1998).

What Is Trauma?
The National Child Traumatic Stress Network (NCTSN, 2013) outlines
different types of psychological or physical trauma, including early child-
hood trauma, traumatic stress, traumatic grief, complex trauma, toxic stress,
and PTSD. Early childhood trauma is a traumatic experience that occurs
between birth and age 6. Depending on what has occurred, the traumatic
experience can have long-range impact on a child’s health, education, and
life. Traumatic stress can occur as a result of a painful medical treatment or
the sudden loss of a loved one. Grief becomes traumatic when the trauma
symptoms interfere with the child’s ability to experience a typical process
of bereavement. The combination of trauma plus grief symptoms can be so
unrelenting that painful reminders can create scary thoughts, images, and/or
memories for the child. Complex trauma refers to a child’s response to
multiple or prolonged traumatic events and the impact of this exposure in
their development (NCTSN, 2013). The Center on the Developing Child
at Harvard University (2013) refers to this type of trauma as a toxic stress.
Toxic stress can be physical or emotional abuse, longstanding neglect, sub-
stance abuse or mental illness of a main caregiver, constant exposure to
violence, and/or poverty. One of the key factors in toxic stress is the lack
of adequate adult support in a child’s life (National Scientific Council on
the Developing Child, 2007). Toxic stress is pervasive and recurrent. Many
children living in poverty experience this type of stress.

What Do Art Educators Need to Know about

Trauma Reactions?
Children’s reactions to trauma may be difficult to understand and/or con-
fusing. Some behavioral reactions may not seem to connect directly with
the trauma. Art teachers can help students through difficult times by under-
standing how children react to traumatic life events. It is important to note
that children respond differently to traumatic events depending on their age
and cognitive and emotional developmental levels. As a result, elementary,
middle, and high school students may exhibit different behavioral reactions
to trauma. For example, elementary students may appear nervous and afraid,
worried about their own safety or others’ safety, or become clingy with a
teacher or parent. A minor incident may cause a huge upset. They may
8 Lisa Kay
feel guilty, ashamed, or startle easily. Young students may retell the story
of a traumatic event repeatedly and may worry that the event will happen
again. Children may have difficulty expressing their feelings or concentrat-
ing. They also may have trouble sleeping (NCTSN, 2013; Zubenko, 2002).
An art teacher may see changes in the student’s overall school performance
or projects, such as in art work.
Middle and high school children may appear or feel depressed, alone, and
different from their peers. They may report that their life is out of control.
Older students may discuss the specific details of the traumatic event and
avoid places that remind them of the event. Students who have experienced
trauma may show changes in behavior; develop eating disorders, begin
self-harming behaviors like cutting or hair pulling; or start using or abus-
ing alcohol or drugs. They may become sexually active or engage in risky
behaviors (Zubenko, 2002). They may say that they feel nothing about what
has happened (Lubit et al., 2003, as cited in Wolfe et al., 2006). Like younger
children, adolescents may experience sleep disturbances (NCTSN, 2013).
Traumatic stress can impact many levels of functioning—the psychological,
physiological, social, emotional, and cognitive. Students may appear opposi-
tional, defiant, hyper­active, uncooperative, and/or inattentive. Students may
show signs of depression, anxiety, or seem withdrawn; have social conflicts
with peers; exhibit angry outbursts; and act-out trauma via art work, stories,
or through play.

What Do Educators Need to Know about PTSD?

When traumatic stress becomes disabling and lasts for an inordinate amount
of time, children can develop a more serious disorder, like PTSD. PTSD
is characterized by hypervigilance, exaggerated startle response, sleep dis-
turbances accompanied by nightmares, chronic fears for safety, irritability
and angry outbursts, difficulty concentrating, and repeated or perceived
threats of harm. These behavioral, psychological, and physiological symp-
toms are often triggered by memories of severe trauma. Researchers report
that rates of PTSD are higher in identified at-risk groups such as youth in
foster care or abused and neglected children (McCloskey & Walker, 2000;
Shumow & Perry, 2006).
According to Shumow and Perry (2006), students with PTSD live in
a persistent state of vigilance, which is due to changes in the central nerv-
ous system.1 Behavioral responses may manifest as inattentiveness, lack of
focus, or oversensitivity to perceived environmental threats. Often, signs of
hypervigilance are misunderstood and students are labeled as being oppo-
sitional, resistive, and uncooperative or are misdiagnosed and treated for
other disorders, like attention deficit/hyperactivity disorder or anxiety,
when in fact the symptoms are emotional reactions to trauma. In addition,
“youth [at-risk] in urban schools who have sustained severe and repeated
traumatization may have strong concerns about their own humanness, may
Another random document with
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 "To think of Owley Cot!" murmured Jane. "Too good to be true in my
opinion. Its little windows catch the morning light, and the chimney's
covered with ivy. Great fir trees with red stems grow over it and there's an
upping-stock for horsemen outside the gate."

"You won't know it for roses now," answered Margery. "Poor dear
Mercy Marydrew—her heart used to sink when I came along with some
new flowers dug up from here. She was all for tidiness, and I do think
flowers gave her more pain than pleasure."

"I like them and I'll tend them well," promised Jane.

Her sister-in-law, regarding her with side glances, perceived that she
was possessed of childish charm. She was a pleading sort of girl—just the
type sure to win Jeremy's affections.

"My own impression is that it's going to mean big money from the
first," said the future huckster. "I'm itching to be at it; and I'm very hopeful
it may be possible to secure some of Miss Marydrew's furniture, so we can
go into Owley Cot as soon as Jacob likes. Father would help there."

"And we shan't fear to rough it neither," continued Jane. "We've said to

each other, scores of times, that we don't mind how hard life is, so we share
it together."

"Not hard for you, however," promised Jeremy. "I'm the one to bear the
battle and come between you and everything. That's what I'm here for."

Then they went to look at the kennels.

The family reassembled at tea, and Jacob, who had spent an hour with
Mr. Marydrew, declared that he was bearing up exceedingly well.

"Too sensible to lose his balance under any trouble," he said.

Bullstone found that Jeremy had already undertaken the new work in
spirit and was actually thriving at it, saving money and repaying his debts.
 "Trust me," he said, "and be sure of this, that I shall return good
measure well pressed down, Jacob. This is the chance of a lifetime, and
something tells me my foot is now firm on the ladder."

They parted presently, and while Auna and Avis accompanied them for
a mile on their return journey to Brent, Margery thanked her husband.

"It's like you; I'm sure I'm deeply obliged; and father and mother will
feel as grateful as I do," she said rather formally.

Jacob laughed.

"For you and yours I do it. But don't be too hopeful. Jeremy isn't built to
help on the world—only to be helped on by it."

"Perhaps now he's married——"

"Yes, yes, he'll try valiantly—a most well-meaning chap—but you can't
ask putty to take the place of lead. I'll push him and do what I may; and so
will you. If manners could make him, he'd be all right; but he's like your
rose-bushes—wants a lot of tying up and supporting."

CHAPTER III

BARTON GILL UNDER NOTICE

The mind of Barton Gill was exercised, for he had heard painful news
and suddenly learned the unsuspected opinion of another man concerning
him. He felt shocked and cast down, having never guessed that Jacob
Bullstone contemplated the possibility which now confronted Mr. Gill as a
fact.
 Barton was sixty-eight and, in his own opinion, as active and
apprehensive as ever. Looking back he perceived that he had actually
outgrown some weaknesses of middle age; while with respect to his
knowledge of dogs, no man could deny that it embraced everything of
importance.

Returning from Brent, the kennel-man fell in with Adam Winter and
revealed his troubles.

"Hast heard the black news, Adam?" he began. "But of course you have
not. It only burst upon me yesterday."

"Can it be bettered, or is it one of they fatal things beyond repair?"

asked Winter.

It was his solid custom on all occasions to help if harm might be

averted, but not to fret unduly at evil accomplished.

"Whether it's going to be fatal remains to be seen; but I don't feel an

ounce of hope," said Gill. "In a word—Jacob Bullstone. You know his way.
He'll store his thoughts, and smile, and hide what's moving in his head from
every eye but his Maker's; and then, when the deed is ripe, he'll do it. And
so half his actions come upon people as a great surprise, because they never
get a wink of what was leading up to 'em."

"He's always got his reasons, however," argued Adam.

"He may have, or he may not. And it's all one, anyhow, since he never
feels called to give 'em. But in my case there ain't a shadow of reason. He's
built up a very wrong and mistaken picture of me. He's watched me in
secret, which ain't a manly thing to do, and now, like a thunder planet, he's
fallen upon me and given me the sack!"

"My stars! You going?"

"Under notice; but never any warning in the rightful sense of the word,"
explained Barton Gill. "I've been doing my work in season and out at Red
House for half a century, and putting the dogs before everything but God
Almighty, and helping to make 'em the world-famous creatures they be.
And full of zeal for the family, and pouring my knowledge into young Peter.
And now to be flung out."

"Why for, Barton?"

"Well may you ax that. For no reason on earth but because I'm too old!
And only sixty-eight by this hand, and I wish I may die if a year more."

Adam was cautious. He felt very little doubt that Jacob Bullstone knew
his own business best. They had been neighbours for fifteen years and, so
far as Winter knew, Jacob regarded him as a good neighbour. They had
never quarrelled and not often differed. Indeed they met but seldom and
Adam saw Margery Bullstone far oftener than her husband. He had been
good to her children and regarded himself as an old friend of the family; but
his relations with Bullstone were not intimate.

"What you say about Bullstone's character is very interesting, Barton,"

he replied. "There are some men that do things on a sudden and hide the
reasons. But, if you look, you'll often find, after your surprise dies down,
that there's nothing much to be surprised about. I'm sorry if you wanted to
stop on. Perhaps, if you was to be content to sing second to a younger man
and just milk the goats and potter about for smaller money, he'd be content."

"You say that? Why, that's what he offered me!"

"Not the sack then? You told me you were flung out."

Gill shook his head impatiently.

"You don't know my character seemingly, though you ought to by now.

But Bullstone does know it, and well he knows I'd not bide under a younger
kennel-keeper. I stop as head man, else I don't stop. And this I say, that to
see your faithful life's work forgot is a sad sight. He did ought at least to be
decent and let me die in harness, before he talks of changes and new-
fangled notions. What the hell more do he want than first prizes again and
again, and four awards in the last ten years for the best dog in the show?"
 "Youth will be served," said Winter. "I see it more and more. I'm forty-
six and not done with yet; but it's no good pretending the younger men don't
know more than us. They've got what we can give them, because they're
always welcome to our knowledge; but they've got much more than that,
along of education, and I'll bet there's scores of men ten and fifteen years
younger than me, who know more about the latest in farming; and, of
course, there's scores know more than you about the latest in dogs."

"You're a very poor-spirited creature to say so then, and I don't think

none the better of you for it," replied Gill warmly. "I ban't one to throw up
the sponge before youth, I promise you. I understand the wilful ways of
youth a darned sight too well. Hot-headed toads—always dashing at things,
to show off their fancied cleverness, and then coming to us, with their tails
between their legs, to make good their mistakes. You might just so soon say
a puppy's wiser than his sire, than tell me the youths know more than us."

"It's nature," argued Winter. "When we stand still, the younger ones
have got to pass us by. And, to the seeing eye, that's the first thing middle
age marks—that the young men go past. We think we be trudging along so
quick as ever; but we are not. And as for your life's work, you've done your
duty we all know and done it very well. You was born to work and you've
worked honest and helped on the world of dogs in your time; but nothing
stands still and dogs will improve beyond your knowledge no doubt. So I
should be dignified about it and go. Nought lasts, and youth's the flood
that's always making to drown all."

Barton Gill considered these sentiments, but did not approve of them.

"I had it in mind to ax you to put in a word for me," he answered; "but I
see I can't.'

"Not very well, Barton. I don't know enough about it, and nobody has a
right to come between master and man."

"Everybody's got a right to throw light on another's darkness.

Bullstone's wrong. He might so soon give his right hand notice as me. He's
got to take me as an accepted law of nature, and he's worked himself into a
silly fancy that a younger man would be what I am, and even more. But it's
ignorance; and if I took him at his word and went, he'd be calling out for me
on his knees in a week."

"Then you ought to be hopeful," said Adam. "If that was to happen,
you'd come back with a flourish of trumpets."

"I don't want no flourish of trumpets and I don't want to go," declared
the other. "It's very ill-convenient and unchristian thing to fire me now, and
I hope Bullstone will see sense before it's too late."

Adam Winter had some experience of the tyranny of old servants and
perceived that the kennel-man was not going to leave Red House if he could
stop there.

"What does Mrs. Bullstone say?" he asked. "She's a very clever

woman."

"For a woman she is," admitted Gill; "and when she calls home what
I've been to her young people, I make no doubt she'll see that a very
improper thought have come to master. But I haven't sounded her as yet and
she may not have the pluck to take my side."

"What did you say to Bullstone?"

"Nothing so far. He burst it on me, as I tell you, and left me and my

stomach wambling with the shock. I couldn't let down my dinner after, for
the troubled mind tells upon the body instanter. I just axed him if I'd heard
aright, and he said I had; and since then I've been turning it over."

They had reached the gate of Shipley Farm on the east bank of Auna,
and Adam stood a moment before entering.

"Well, I dare say it will straighten out. Look all round it. You've only
got yourself to think of; and if you was to retire, you'd enjoy a restful time,
and the respect due to you, and not be sorry to find yourself idle with your
work well done."
 "I'm not going," answered Barton. "One word's as good as a thousand,
and unless the man uses force, I don't go. I've set the age of seventy-five for
retirement, and I don't break my word to myself for fifty Bullstones."

In this determined mood he crossed the bridge and proceeded sulkily

homeward. A thought struck him and he turned and shouted it back to
Adam.

"A man's home is his home, ain't it? And who the devil's going to turn
me out of my home?"

Adam did not answer, but laughed to himself. He was still laughing
when he entered his kitchen, where his aunt, Amelia Winter, and his
brother, Samuel, had just begun their tea.

"I didn't expect you back so soon, my dear," he said to the old woman.

"And I didn't expect to be home so soon," she answered, "and, what's

more, I came too soon for my peace, for if I hadn't gone up Church Lane
when I did, I shouldn't have seen a very sad sight."

Amelia had worn well. She was upright and stout and strong—the
youngest of the party, as Adam always declared. The men resembled each
other. Samuel was but a few years older than his brother and Adam stood to
him for divinity. He echoed his opinions and bestowed upon him absolute
trust. Nothing his younger brother could do was wrong. Sammy's mental
eccentricities were considered quite harmless and they had seldom as yet
made him a danger to the community. If he ever displayed a spark of
passion, it was at any adverse criticism of Adam, and this weakness on his
part—once actually manifested, when he fell tooth and nail upon another
labourer for laughing at his brother over some trifle—was now respected. In
person Samuel appeared a larger edition of Adam, but of gaunt expression
and already grey. He was very strong and laboured like a horse. Work kept
his mind sweet.

"And what might you have seen to shock you, Aunt?" asked the master
of Shipley.
 "A sorry sight," she answered. "You mind poor Miss Marydrew's
famous hat with the red squirrel's tail? It was a well-known feature—a
proper landmark round about; and to-day I've seen it on another woman's
head, and you might have knocked me down with a feather. That any
female could have the front to flaunt that well-known trophy! And such a
female! Sarah Saunders if you please. Properly indecent I call it."

"Her sale fetched very good prices," said Adam. "Old William kept a
few of the best things for his house; but they say he's cleared something
better than sixty pounds by it."

"He oughtn't to have sold her clothes, and I've told him so," answered
Amelia. "Clothes are sacred to the wearer in my opinion, and I'd so soon
have seen Mercy's ghost as her hat on that wicked head. It won't bring no
luck to anybody concerned."

Adam told how Barton Gill was under notice, and his aunt thought it a
hard thing. Samuel waited to hear his brother's opinion, and echoed it.

"Gill's worn out and did ought to make room for a younger man," he
said.

He spoke very slowly in a very deep voice.

"Did Mrs. Kingwell's cow come to 'Turk'?" asked Adam.

"She came," answered his brother.

Then the men went out to their evening labours.

No great prosperity marked the farm, but Adam was not ambitious and
his future hopes only extended to his brother. He desired to see Samuel
safely through life and never at the mercy of unfriendly or indifferent
hands. His own needs were of the simplest. He had abandoned any wish to
wed, or raise up a family. He was content and his life went uneventfully
forward, brightened by various friendships. He was well liked but not well
known. To more full-blooded and energetic men he seemed shadowy; yet
none ever heard him say a foolish thing. His neighbours knew him for a
capable farmer, but they wondered why he stopped on year after year at a
place which offered such small opportunity for enterprise as Shipley.
Others, however, explained this seclusion as accepted on Samuel's account.
Samuel was happier in loneliness.

CHAPTER IV

ON SHIPLEY BRIDGE

The subconscious work of grievances and the secret attrition of their fret
are dangerous. Margery Bullstone harboured such an ill, and it had wrought
inevitable modification of character, for sense of personal wrong, if
indulged, must mar quality. She was barely conscious of this buffet, and
when she thought upon her life, assured herself that its compensations and
disillusions were fairly balanced, for she loved her husband and tried to
keep his fine characteristics uppermost in her mind; but she liked him less
than of old and her grievance appeared in this: that he hindered her and
came between her and many innocent pleasures which would have made
her life fuller and happier. She did not understand Jacob save in flashes, and
was dimly aware of perils in his nature and chambers, hidden in his heart,
which held danger. He told her often that he held no secrets from her, and
perhaps he believed it. Regarding temporal matters—his success or failure,
his money, his possessions, his plans—it was emphatically true. He liked
her to know how he stood, to share his hopes, to sympathise in his
disappointments. But this was not all, and Margery knew that in the far
deeper secrets of character and conviction, she had not entered the depth of
her husband's mind and never would. He was a warm-hearted man and yet,
under the warmth, flowed currents hidden from every eye. Sometimes,
more by accident than intention, she had dipped for a moment into these
currents, been chilled and found herself glad to ascend into the temperate
region of their usual communion. She knew he was jealous, yet he seldom
said a word to prove it. But she understood him well enough to read his
silences and they were unspeakably pregnant. They would sometimes last
for several days and frighten her. She had known bitter weeks when Jacob
addressed no living thing but the dogs. Then the darkness would drift off
and his steadfast and not uncheerful self shine out. Sometimes she was able
to discover a reason for such eclipse; sometimes, puzzle as she might, no
cause occurred to her mind. If she approached him, expressed grief for his
tribulation and prayed to share it, he would put her off. Then she felt the
cause, if not the fault, was in herself.

"If you don't know the reason, then no doubt there's no reason," was a
cryptic answer he often made, and it left her dumb. She was conscious of a
strange sense that somebody beside her husband dwelt unseen at Red House
—somebody who watched and noted, but made no comment. The unseen
expressed neither pleasure nor displeasure, but concentrated upon her and
chronicled her actions and opinions. Jacob seemed to be two personalities,
the one obvious, trustworthy, affectionate, the other inscrutable, attentive,
vigilant. If one Jacob praised her and seemed to come closer, so that she felt
happy, then arose the consciousness of the other Jacob, concerning whom
she knew so little, and whose attitude to herself she could not feel was
friendly. Had she been able to put a name to it, or analyse her husband's
second self, she might have felt easier in some directions; but as yet she had
failed to understand. Nor could anybody help her to do so. Perhaps Judith
Huxam came nearest to explaining the obscurity. But she refused to give it a
name, though her suspicion found vent in cautions to Margery.

Jacob was not secretive in many things, and a habit of his, quite familiar
to his wife, might have helped towards elucidation had she been of a
synthetic bent. He would sometimes himself harbour grievances for days
and then plump out with them. They were generally of a trivial appearance
in Margery's eyes, and she often wondered at the difference between the
things that annoyed a woman and perturbed a man. He was obstinate and
had his own way as a matter of course. She never opposed him, and where
alternatives of action presented themselves, Jacob decided; but some things
happened that she felt were a permanent bruise to him. They grew out of
life and struck the man in his tenderest part. None was responsible for them
and they rose from material as subtle and intangible as heredity and
character. Margery granted that they were very real facts and would have
altered them for her husband's sake had it been possible to do so; but to alter
them was not possible, for they rooted in the souls of the four children now
swiftly growing up at Red House.

Jacob was a good father, and coming to paternity when already

advanced in manhood, he had devoted more personal time and attention to
his children, their nurture and formation of character, than a younger parent
might have done. From the first Margery perceived that the upbringing of
her brood would lie in the will of their father; and since she had cared for
him better and glorified him mere during the years when they were born
than now, she had not differed from his opinions, even when sometimes
prompted from her parents' home to do so. But chance, as though conscious
of Jacob's jealousy and his overmastering desire to dominate by love of his
children and his wife, had flouted this passion and denied him love.

At first the case centred with Margery herself, and while his boys and
girls were little children, he had almost resented the abundant worship they
bestowed upon her rather than him; but now the situation had developed,
though they were still too young to hide their predilections. Nor did they
turn to their father, as he expected the boys at least to do. They had declared
frank affection where least he expected it. Their mother was indeed first,
and then came in their regard not Jacob, but their grandparents; and he
found to his surprise that the Huxams attracted his sons and eldest daughter.
It puzzled him, even angered him; but he rarely exhibited his secret
annoyance and never to any but Margery.

He was scornful to her occasionally and she admitted, or professed, a

kindred astonishment. Indeed she did not know why the boys had not
naturally turned to their father, since there existed no reason in his treatment
of them to lessen natural affection. He was kind and generous. He supported
their youthful hopes and ambitions; he went further in that direction than
Margery herself; for she had desired higher education for John Henry and
Peter, while their father, to her disappointment, held it worthless, seeing the
nature of their hopes and abilities. In a year or two both would be free to
leave the secondary school at which they studied, and Jacob held that his
eldest son must then take up practical farming under experienced tuition,
while Peter was to join a veterinary surgeon for a time, then come back to
Red House and the Irish terriers. His decisions troubled Margery and
seemed, in her mind, a slight to her sons. For Jacob had been himself well
educated and knew the value of learning.

Thus husband and wife developed points of difference at this stage of

their united lives, though they lived placidly on the surface and were
exemplars of what marriage should be in the eyes of their neighbours. The
invisible friction was concealed and all ran smoothly in general opinion.

Jacob Bullstone was exacting in trifles, and Margery, while she had
waived certain pleasures that meant much to her in her early married days,
always hoped to gratify them when her children were grown out of
babyhood and life still beckoned. Now, in sight of their crucial years
together, it was too late, and having from the first fallen in with her
husband's solitary mode of life, she found it had become impossible to
make him more gregarious and sociable. She loved her fellow-creatures and
companionship; he preferred loneliness and found the company of his
family more than sufficient. She was ambitious to entertain a little and
loved to see friends at Red House, or visit them; he cared not for hospitality
and could seldom be prevailed upon either to accept it, or offer it. He was
always craving for peace, while she found so much solitude to be
melancholy, and often sighed for distraction. She was but thirty-four and
her cheerful nature and ready sympathy made her popular. He was fifty and
regarded the life he liked as more dignified and worthy of respect, excusing
his hermit instinct in this manner. She loved to talk of her own and praise
her children in the ears of other mothers. He deprecated this desire strongly
and was morbidly sensitive about praising anything that belonged to him.
At the same time he would grow silent if others took his own cue, or
ventured to criticise unfavourably so much as a dog that he esteemed.

Margery concentrated on Jacob's goodness, for she knew that he was

good; and at moments of depression, when life looked more grey than usual
and its promise but bleak, after her children should be gone, she would
remember many incidents to her husband's credit. He was very patient; he
worked hard; he helped many a lame dog over a stile; he forgave wrongs;
he was slow to think evil. He failed as a judge of character, which was
natural in a man of his temperament; but his disappointments bred neither
irony nor bitterness. She believed that he thought well of human nature, so
long as it did not intrude too much upon his privacy; and she perceived that
he took men at their own valuation until they proved that he was wrong to
do so.

There was one golden link, and sometimes Margery confessed to her
father, though not to her mother, that Auna, the baby of the family, held all
together and might be called the little saviour of the situation and the central
fact of the home. She was physically her mother again—more like Margery
when eighteen, than Margery herself now was. She had her mother's eyes
and hair, her long, slim legs, her sudden laugh. She was an attractive child,
but very shy with strangers. Yet her good nature made her fight this instinct
and she pleased better in her gentle way than her more boisterous sister. Her
brothers made Avis their heroine, since she could do all they could
themselves and play boys' games; but Auna found this no sorrow. Her father
was supreme in her affections and his own regard for her echoed her
adoration.

He made no favourites openly, yet the situation could not be hidden and
none was jealous of Auna, since none ever had any ground for grievance.
His regard for Auna surpassed that for the others, and she loved him far
better than they did. Margery would not quarrel with the fact, and Jacob
explained it in a manner which left her no cause for complaint.

"It's natural that, after you, she should come first with me," he told his
wife privately—indeed he often repeated the sentiment. "She's you over
again—you, to every trick and turn—you, even to the tiny fraction your
right eyebrow's higher than your left. In body she's you, and in mind she'll
be you and me rolled into one. And she loves me more than the others all
put together, just as you love me more than they do. So never wonder; and
never fear I'll do less than my whole duty to every child of mine."

She never did fear that and was only sorry for him, that life had drawn
this difference. With such a man it was inevitable that he would react
fiercely in heart, though not out of reason. He was sensitive and knew
himself not popular; and when he confessed as much and she told him that
the fault was his own, since he would not court his neighbours and give
them opportunity to learn his worth, he would laugh and say she was
doubtless right. Yet, of the few friends that he had, he was very jealous, and
when a man offered friendship and presently cooled off, as sometimes
happened, by accident rather than intent, Jacob suffered secretly and
puzzled himself to invent explanations, when often enough the other,
pressed by a harder life than his own, had merely let him slip a little from
force of circumstances, yet still imagined him a friend.

Margery regretted her mother-in-law very heartily, for she had been a
valued factor in the home and acted as anodyne of trouble on many
occasions. She had taught her son's wife some precious truths concerning
Jacob and made her feet firm in certain particulars. She had won the
affection of her grandchildren also and she always possessed an art to
satisfy Jacob himself. But she was gone and with her much that Margery
had only dimly appreciated, but now missed. The wife also tended to forget
a point or two that had been wiselier remembered.

Jacob broke out sometimes and said things that must have caused
Margery uneasiness, had she not assumed their insignificance. What he
spoke in rare fits of anger was always of the surface and unimportant to
Margery, yet in another ear, if any had heard him, these speeches might
have sounded ominous. Galled sometimes by thoughtlessness in his sons, or
at an answer lacking in respect, he would roar harmlessly and even threaten.
She had heard him say that, since Auna was the only one who cared a straw
for his opinions, and valued his fatherhood in her, she should be the only
one he should remember. But these things were summer thunder and
lightning to his wife. Whatever his offspring might do, short of open wrong,
would never influence Jacob. What was hidden she regarded, indeed,
fearfully for its mystery; but that it would ever rise into injustice, folly,
madness she denied. He was a man too forthright and fixed in honour and
justice to wrong any fellow-creature.

And this she felt despite difference in religious opinion. She had never
probed this matter, but was aware that Jacob did not share the convictions
she had won in her home. He seldom went to church and seldom, indeed,
discussed religion at all; but he never spoke of it without great respect and
reverence before his children, though sometimes, to her, he allowed himself
an expression that gave her pain.
 She did not doubt, however, that under his occasional contempt for her
mother's religious practices, Jacob remained a good Christian at heart.
Indeed he had never questioned the verities of Christian faith, or regarded
himself as anything but a religious man. But his plain dealing and
scrupulous honesty sprang from heredity and was an integral part of his
nature. He felt no vital prompting to religious observance in public, and his
dislike of crowds kept him from church-going save on very rare occasions.
Margery knew that he prayed morning and evening, and had indeed
reported the fact to her mother, who distrusted Jacob in this matter. For her
son-in-law himself Mrs. Huxam did not trouble; but she was much
concerned in the salvation of her grandchildren.

Margery wandered down the valley one afternoon when the leaves were
falling and the river making riot after a great rain in mid-moor. She always
liked these autumnal phases and loved to see the glassy billows of the water
roll, as they rolled when she came so near drowning in her marriage year.
She proceeded to meet Jacob, who would presently return from Brent,
whither he had been to despatch some dogs by train; and now she fell in
with Adam Winter, riding home on a pony over Shipley Bridge. She was
glad to see him, counting him among her first friends, and he welcomed her
and alighted.

"Haven't met this longful time," she said and shook hands. This they
never did, but for once the fancy took her and he responded.

"Leaf falling again," replied Adam, "and the autumn rain upon us. A
good year, however—middling hay and corn, good roots and good grazing."

"I'm glad then. Weather's nothing to us."

"It makes a difference to your feelings," he argued. "How's things?"

"All right. 'One day followeth another,' as the Book says. And they're all
mighty alike at Red House. We don't change half so much as the river. Auna
was rolling down like this when I went over the waterfall, and you got wet
on my account."
 "Sixteen year next month; I haven't forgotten."

"It's a long time to remember anything; but I've not forgot neither.
How's my brother, Jeremy, treating you?"

Adam laughed.

"New brooms sweep clean; but he's made a great start, and don't he look
a pretty picture in his trap? Up he comes, punctual as postman, every
Thursday afternoon for the butter and eggs. Long may it last."

"And Jane's suited too—so far. She gets off to Plymouth market on
Friday morning, and has done very clever indeed up to now."

"It was a great start in life for them, and like your husband to give it. A
wonderful good thing to do. Jeremy knows his luck I hope. But there—
Providence cares for the sparrows, though it over-looks the starlings in a
hard winter. Jacob's a good un, Margery."

"So he is then—good as gold."

"And heavy as gold—so a man answered, when I said that very thing
about Bullstone not a month ago. But I withstood him there. He's not heavy
—only a self-centred man. And why not? With a home and a wife and
children and a business, all packed up in the valley so snug and prosperous,
why shouldn't he be self-centred? Why does he want to be anything else?"

She shook her head.

"It's narrow for a man," she answered, "and I often wish he'd go in the
world more, and welcome the world at Red House for that matter."

"I'm looking at it from his point of view—not yours," replied Adam.

"For the minute I was seeing his side. He's not one for neighbouring with
people, and I say he don't lose much, because his business don't call for a
wide knowledge of humans. He's in clover. He's got a very fine strain of
dogs and the people know it and have to give a good price for a good
article. So he's not like a farmer, who must make the best he can of open
markets and competition. He's all right. But I quite grant it's not just the life
you'd choose, because you're a sociable creature. You like fresh faces and
new voices and new opinions and new gowns; and if I'd been your husband,
you'd have had most of those things anyway."

"I believe I might. You'd make a very good husband, Adam. A good
husband wasted. But why? It's not too late. Why don't you take a wife? I
should be glad, for it would mean another woman here, and new ideas."

"For your sake I would then," he said. "But the time's past, if it ever
came. I've got a bachelor nature and plenty to think upon without a wife."

"Lookers on see most of the game. I'm sure you're a lot cleverer and
more understanding than most married men."

"Not much in the way of cleverness, else I wouldn't be puzzled so oft."

"The open mind's a very good thing. I'd sooner be puzzled than always
think I knew. Such a lot always think they know; and always know wrong."

"It's the point of view," he said.

"If my Jacob could look at things from outside, same as you do; and not
always from inside, same as he does, then he'd see a lot clearer all round
life."

"He sees clear enough what he wants to see. He don't waste his time
looking at doubtful or uncertain things. What he does see, he sees; and so,
on his own ground, he can't be beat. I may see a bit farther and a bit more,
but my vision's cloudy. I'm not certain of anything."

"Yes, you are," answered Margery. "You're as certain in religion as I am,

or my mother herself. Now just there, in a vital thing like that, Jacob's foggy
I believe."

"The fog will lift if fog there is. No man can do the things he does and
lack for the Guide, I reckon."

"I'll tell him what you say. Belike it would please him."
 "Better not. He's not one to care what I might say. I'm a slight man in his
eyes. He might even think it was cheek my praising him."

"He likes praise really, though he'd never admit it."

"Depends where it comes from. We don't set no store on the praise of

small people and the humble-minded. The praise we ache for be most times
withheld. That is if you are ambitious, like Jacob is. A man spoke well of in
newspapers like him—what should he care for me?"

"He thinks well of you and says it's a fine thing the way you work."

"No, no—think twice, Margery. You're inventing now—to please me.

He's got a very good knowledge of what's worth praise; and a man that does
his own duty without flinching, like your man, isn't going to admire them
who only do the same. I do no more than that, and the time hasn't come yet
when we pat a man on the back for doing his duty; though perhaps it will be
a rare sight in the next generation."

"I wish we could look forward. There's some things I'd dearly like to
know," said Margery.

"Lord! What a lot we should do to fight for ourselves and them we care
about if we could do that," he answered. "If we could look on ten years
even and see how we had changed—how habits had grown up and fastened
on us, how faith in our neighbours had gone, perhaps, and how, with the
years, we'd got more cunning, and harder and more out for Number One—
how we'd set to work to fight ourselves—eh?"

"We ought to live so that we shouldn't be afraid to look on ten years,"

she assured him. "Why not so live that your heart will be bigger and your
hope higher and your faith purer in ten years?"

"That's your mother," he answered.

"It's you," she said. "It's you, Adam. You don't need to fear the years.
But I do. I'm different, because I've got children. It's for them I'd love to
look on, so as I might head off the dangers, if dangers showed!"
 "None have less to dread than you in that direction. Wonderful children
—healthy, hearty, sensible. You and Jacob have made a very good blend for
the next generation, and that's something to be thankful for. If marriage is a
lottery—then what are childer? Look at my family. Who'd have dreamed
that my fine mother and my good, sane father should have had Samuel, and
Minnie, now in her grave, and me—me—only better than Samuel by a hair,
and often quite as mad as him! But there it was. The poison was hid away in
my mother's family, and they never told father till after he was wedded. A
very wicked thing and ought to be criminal—eh? My mother went off her
head after Sam was born and had to be put away for a bit. But she recovered
and never got queer again."

"I'd like to see you on one of your mad days," she said. "But now it's
you telling fibs, not me. Never was a saner man than you; and if you weren't
so sane, you'd be sad. But if you're sad, you don't show it. When I'm sad, I
can't hide my feelings."

"Much pleasanter not to hide 'em, if you've got somebody close at hand
to understand 'em. That's one of the compensations of a good marriage—to
share sorrow and halve the weight of it."

She looked at him whimsically.

"Sounds all right," she said. "Perhaps, after all, there's some things we
married ones know better than you that bide single."

"For certain. Practice knocks the bottom out of a lot of fine theories."

"The things that you can share with another person don't amount to
much," she told him. "The sorrow that can be shared, and so lessened, is
only small. If one of my children was to die, would it make it better for me
because Jacob took on? No."

A child appeared at this moment and Auna approached from the abode
of Mr. Marydrew. Her father's movements were not often hidden from the
little girl and she was now about to plunge down the woody lane under
Shipley Tor by which he must soon return.
 "And how's old Billy, my duck?" asked Margery.

"His cough has gone," said Auna, "and he gave me this brave stick of
barley sugar."

She held the sweetmeat up to her mother.

"I haven't sucked it yet," she said. "I won't suck it till father's had a bit."

"He'll be along in a minute, my dinky dear, and give you a ride home."

Auna went her way.

"Billy's terrible fond of her, ever since she went in once, unbeknownst
to us, to cheer him up when poor Mercy died. She popped in like a mouse,
and sat beside him, and told him what she'd come for; and he liked it."

"A good old pattern of man and wise enough to care for childer about
him."

"And who cares for them better than you? A fine father you would have
been, and I tell you again it's not too late."

"I've got Sammy—and a very good child too, when he's not crossed.
But he can be ugly."

She was thoughtful.

"Small blame to you for not marrying," she said, "I chaff you, Adam;
but very well I know why for you didn't."

They relapsed into a lighter mood, and it happened that Winter had just
uttered a sharp comment on one of Margery's speeches, which made her
pretend to be angry. They were both laughing and she had given him a push
backwards, when Jacob came round the corner in his cart with Auna beside
him. He had seen the gesture and Margery perceived that he must have done
so; but Adam's back was turned and he did not know that Bullstone had
appeared.