Bred of the Desert: A Horse and a Romance — Context and Discussion

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Horton, Charles M. (Charles Marcus), 1879- Project Gutenberg 2010 Not confirmed
Horses -- Fiction; Love stories; Adventure stories; New Mexico -- Fiction Readers of public-domain and historical texts
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Words 77,998
Reading time 340 min
Text sections 7

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An editorial note on the structure and recurring imagery in Marcus Horton's 1915 novel, which alternates between the perspectives of a horse named Pat and human characters in the New Mexico desert.
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Yet was he not stalled now till morning? And would not this delay set him back the one day he had gained over his fellow-townsmen? And would not these same fellow-townsmen rejoice in this opportunity to overtake him--worse, to leave him behind? They would!

"Oh, well," he concluded, philosophically, stretching out upon his back and drawing his worn and ragged sombrero over his eyes, "soon is comin' a _potrillo_." With this he deliberately courted slumber.

Out of the stillness rattled a wagon. Like Felipe's, it was a lumber rigging, and the driver, a fat Mexican with beady eyes, pulled up his horses and gazed at the disorder. It was but a perfunctory gaze, however, and revealed to him nothing of the true situation. All he saw was that Felipe was drunk and asleep, and that before dropping beside the trail he had had time, and perhaps just enough wit, to unhitch one horse. The other, true to instinct and the law of her underfed and overworked kind, had lain down. With this conclusion, and out of sheer exuberance of alcoholic spirits, he decided to awaken Felipe. And this he did--in true Mexican fashion. With a curse of but five words--words of great scope and finest selection, however--he mercilessly raked Felipe's ancestors for five generations back; he objurgated Felipe's holdings--chickens, adobe house, money, burro, horses, pigs. He closed, snarling not obscurely at Felipe the man and at any progeny of his which might appear in the future. Then he dropped his reins and sprang off the reach of his rigging.

Felipe was duly awakened. He gained his feet slowly.

"You know me, eh?" he retorted, advancing toward the other. "All right--_gracios_!" And by way of coals of fire he proffered the fellow-townsman papers and tobacco.

The new-comer revealed surprise, not alone at Felipe's sobriety, though this was startling in view of the disorder in the trail, but also at the proffer of cigarette material. And he was about to speak when Felipe interrupted him.

"You haf t'ink I'm drunk, eh, Franke?" he said. "Sure! Why not?" And he waved his hand in the direction of the trail. Then, after the other had rolled a cigarette and returned the sack and papers, he laid a firm hand upon the man's shoulder. "You coom look," he invited. "You tell me what you t'ink thees!"

They walked to the mare, and Franke gazed a long moment in silence. Felipe stood beside him, eying him sharply, hoping for an expression of approval--even of congratulation. In this he was doomed to disappointment, for the other continued silent, and in silence finally turned back, his whole attitude that of one who saw nothing in the spectacle worthy of comment. Felipe followed him, nettled, and sat down and himself rolled a cigarette. As he sat smoking it the other seated himself beside him, and presently touched him on the arm and began to speak. Felipe listened, with now and again a nod of approval, and, when the _compadre_ was finished, accepted the brilliant proposition.

"A bet, eh?" he exclaimed. "All right!" And he produced his sheepskin pouch and dumped out his three dollars. "All right! I bet you feety cents, Franke, thot eet don' be!"

Frank looked his disdain at the amount offered. Also, his eyes blazed and his round face reddened. He shoved his hand into his overalls, brought forth a silver dollar, and tossed it down in the sand.

"A bet!" he yelled. "Mek eet a bet! A dolar!" Then he narrowed his eyes in the direction of the mare. "Mek eet a good bet! You have chonce to win, too, Felipe--you know!"

Felipe did not respond immediately. Money was his all-absorbing difficulty. Never plentiful with him, it was less than ever plentiful now, and was wholly represented in the three dollars before him. A sum little enough in fact, it dwindled rapidly as he recalled one by one his numerous debts. For he owed much money. He owed for food in the settlement store; he owed for clothing he had bought in town; and he owed innumerable gambling debts--big sums, sums mounting to heights he dared not contemplate. And all he had to his name was the three dollars lying so peacefully before him, with the speculative Franke hovering over them like a fat buzzard over a dead coyote. What to do! He could not decide. He had ways for this money, other than paying on his debts or investing in a gambling proposition. There was to be a _baile_ soon, and he must buy for Margherita (providing her father, a caustic _hombre_, bitter against all wood-haulers, permitted him the girl's society) peanuts in the dance-hall and candy outside the dance-hall. The candy must be bought in the general store, where, because of his many debts, he must pay cash now--always cash! So what to do! All these things meant money. And money, as he well understood, was a thing hard to get. Yet here was a chance, as Franke had generously indicated, for him to win some money. But, against this chance for him to win some money was the chance also, as conveyed inversely by Franke, of his losing some money--money he could ill afford to lose.

"You afraid?" suddenly cut in Franke, nastily, upon these reflections. "I don' see you do soomt'ing!"

Which decided Felipe for all time. "Afraid?" he echoed, disdainfully. "Sure! But not for myself! You don' have mooch money to lose! But I mek eet a bet--a good bet! I bet you two dolars thot eet--thot eet don' be!"

It was now the other who hesitated. But he did not hesitate for long. Evidently the spirit of the gambler was more deeply rooted in him than it was in Felipe, for, after gazing out in the trail a moment, then eying Felipe another moment, both speculatively, he extracted from his pockets two more silver dollars and tossed them down with the others. Then he fixed Felipe with a malignant stare.

"I bet you t'ree dolars thot eet cooms what I haf say!"

Felipe laughed. "All right," he agreed, readily. "Why not?" He heaped the money under a stone, sank over upon his back with an affected yawn, drew his hat over his eyes, and lay still. "We go to sleep now, Franke," he proposed. "Eet's long time--I haf t'ink."

Soon both were snoring.

Out in the trail hung the quiet of a sick-room. The long afternoon waned. Once a wagon appeared from the direction of town, but the driver, evidently grasping the true situation, turned out and around the mare in respectful silence. Another time a single horseman, riding from the mountains, cantered upon the scene; but this man, also with a look of understanding, turned out and around the mare in careful regard for her condition. Then came darkness. Shadows crept in from nowhere, stealing over the desert more and more darkly, while, with their coming, birds of the air, seeking safe place for night rest, flitted about in nervous uncertainty. And suddenly in the gathering dusk rose the long-drawn howl of a coyote, lifting into the stillness a lugubrious note of appeal. Then, close upon the echo of this, rose another appeal in the trail close by, the shrill nicker of the mate to the mare.

It awoke Felipe. He sat up quickly, rubbed his eyes dazedly, and peered out with increasing understanding. Then he sprang to his feet.

"Coom!" he called, kicking the other. "We go now--see who is winnin' thot bet!" And he started hurriedly forward.

But the other checked him. "Wait!" he snapped, rising. "You wait! You in too mooch hurry! You coom back--I have soomt'ing!"

Felipe turned back, wondering. The other nervously produced material for a cigarette. Then he cleared his throat with needless protraction.

"Felipe," he began, evidently laboring under excitement, "I mek eet a _bet_ now! I bet you," he went on, his voice trembling with fervor--"I bet you my wagon, thee horses--thee whole shutting-match--against thot wagon and horses yours, and thee harness--thee whole damned shutting-match--thot I haf win!" He proceeded to finish his cigarette.

Felipe stared at him hard. Surely his ears had deceived him! If they had not deceived him, if, for a fact, the _hombre_ had expressed a willingness to bet all he had on the outcome of this thing, then Franke, fellow-townsman, _compadre_, brother-wood-hauler, was crazy! But he determined to find out.

"What you said, Franke?" he asked, peering into the glowing eyes of the other. "Say thot again, _hombre_!"

"I haf say," repeated the other, with lingering emphasis upon each word--"I haf say I bet you everyt'ing--wagon, harness, _caballos_--everyt'ing!--against thot wagon, harness, _caballos_ yours--everyt'ing--thee whole shutting-match--thot I haf win thee bet!"

Again Felipe lowered his eyes. But now to consider suspicions. He had heard rightly; Franke really wanted to bet all he had. But he could not but wonder whether Franke, by any possible chance, knew in advance the outcome of the affair in the trail. He had heard of such things, though never had he believed them possible. Yet he found himself troubled with insistent reminder that Franke had suggested this whole thing. Then suddenly he was gripped in another unwelcome thought. Could it be possible that this scheming _hombre_, awaking at a time when he himself was soundest asleep, had gone out into the trail on tiptoe for advance information? It was possible. Why not? But that was not the point exactly. The point was, had he done it? Had this buzzard circled out into the trail while he himself was asleep? He did not know, and he could not decide! For the third time in ten hours, though puzzled and groping, trembling between gain and loss, he plunged on the gambler's chance.

"All right!" he agreed, tensely. "I take thot bet! I bet you thees wagon, thees _caballos_, thees harness--everyt'ing--against everyt'ing yours--wagon, horses, harness--everyt'ing! Wait!" he thundered, for the other now was striding toward the mare. "Wait! You in too mooch hurry yourself now!" Then, as the other returned: "Is eet a bet? Is eet a bet?"

The fellow-townsman nodded. Whereat Felipe nodded approval of the nod, and stepped out into the trail, followed by the other.

It was night, and quite a dark night. Stretching away to east and west, the dimly outlined trail was lost abruptly in engulfing darkness; while, overhead, a starless sky, low and somber and frowning, pressed close. But, dark though the night was, it did not wholly conceal the outlines of the mare. She was standing as they approached, mildly encouraging a tiny something beside her, a wisp of life, her baby, who was struggling to insure continued existence. And it was this second outline, not the other and larger outline, that held the breathless attention of the men. Nervously Felipe struck a match. As it flared up he stepped close, followed by the other, and there was a moment of tense silence. Then the match went out and Felipe straightened up.

"Franke," he burst out, "I haf win thee bet! Eet is not a mare; eet is a li'l' horse!" He struck his _compadre_ a resounding blow on the back. "I am mooch sorry, Franke," he declared--"not!" He turned back to the faint outline of the colt. "Thees _potrillo_," he observed, "he's bringin' me mooch good luck! He's--" He suddenly interrupted himself, aware that the other was striding away. "Where you go now, Franke?" he asked, and then, quick to sense approaching trouble: "Never mind thee big bet, Franke! You can pay me ten dolars soom time! All right?"

There was painful silence.

"All right!" came the reply, finally, through the darkness.

Then Felipe heard a lumber rigging go rattling off in the direction of the canyon, and, suddenly remembering the money underneath the stone, hurried off the trail in a spasm of alarm. He knelt in the sand and struck a match.

The money had disappeared.

It was well along in the morning when Felipe pulled up next day before his little adobe house in the mountain settlement. The journey from the mesa below had been, perforce, slow. The mare was still pitiably weak, and her condition had necessitated many stops, each of long duration. Also, on the way up the canyon the colt had displayed frequent signs of exhaustion, though only with the pauses did he attempt rest.

But it was all over now. They were safely before the house, with the colt lying a little apart from his mother--regarding her with curious intentness--and with Felipe bustling about the team and now and again bursting out in song of questionable melody and rhythm. Felipe was preparing the horses for the corral at the rear of the house, and soon he flung aside the harness and seized each of the horses by the bridle.

"Well, you li'l' devil!" he exclaimed, addressing the reclining colt. "You coom along now! You live in thees place back here! You coom wit' me now!" And he started around a corner of the adobe.

The colt hastily rose to his feet. But not at the command of the man. No such command was necessary, for whither went his mother there went he. Close to her side, he moved with her into the inclosure, crowding frantically over the bars, skinning his knees in the effort, coming to a wide-eyed stand just inside the entrance, and there surveying with nervous apprehension the corral's occupants--a burro, two pigs, a flock of chickens. But he held close to his mother's side.

Felipe did not linger in the corral. Throwing off their bridles, he tossed the usual scant supply of alfalfa to the horses, and filled their tub from a near-by well. Then, after putting up the bars, he set out with determined stride across the settlement. His direction was the general store, and his quest was the loan of a horse, since his team now was broken, and would be broken for a number of days to come.

The store was owned and conducted by one Pedro Garcia. Pedro Garcia was the mountain Shylock. He loaned money at enormous rates of interest, and he rented out horses at prohibitive rates per day. Also, being what he was, Pedro had gained his pounds of flesh--was alarmingly fat, with short legs of giant circumference. Usually these legs were clothed in tight-fitting overalls, and his small feet incased in boots of high-grade leather wonderfully roweled. Yet many years had passed since Pedro had been seen in a saddle. Evidently he held to the rowels in fond memory of his days of slender youth and coltish gambolings. Pedro was seated in his customary place upon an empty keg on the porch, and Felipe, ignoring his grunted greeting, plunged at once into the purpose of his call.

He had come to borrow a horse, Felipe explained. One of his own was unfit for work, yet the cutting and drawing must go on. While the mare was recuperating, he carefully pointed out, he himself could continue to earn money to meet some of his pressing debts. Any kind of horse would do, he declared, so long as it had four legs and was able to carry on the work. The horse need not have a mouth, even, he added, jocosely, for reasons nobody need explain. After which he sat down on the porch and awaited the august decision.

Pedro remained silent a long time, the while he moistened his lips with fitful tongue, and gazed across the tiny settlement reflectively. At length he drew a deep breath, mixed of disgust and regret, and proceeded to make slow reply.

It was true, he began, that he had horses to rent. And it was further true, he went on, deliberately, that he kept them for just this purpose. But--and his pause was fraught with deep significance--it was no less true that Felipe Montoya bore a bad reputation as a driver of horses--was known, indeed, to kill horses through overwork and underfeed--and that, therefore, to lend him a horse was like kissing the horse good-by and hitching up another to the stone-boat. Nevertheless, he hastened to add, if Felipe was in urgent need of a horse, and was prepared to pay the customary small rate per day, and to _pay in advance--cash--_

Here Pedro paused and popped accusing eyes at Felipe, in one strong dramatic moment before continuing. But he did not continue. Felipe was the check. For Felipe had leaped to his feet, and now stood brandishing an ugly fist underneath the proprietor's nose. Further--and infinitely worse--Felipe was saying something.

"Pedro Garcia," he began, shrilly, "I must got a horse! And I have coom for a horse! And I have thee money to pay for a horse! And if I kill thot horse," he went on, still brandishing his fist--"if thot horse he's dropping dead in thee harness--I pay you for thot horse! I haf drive horses--"

"_Si, si, si!_" began Pedro, interrupting.

"I haf drive horses on thees trail ten years!" persisted Felipe, yelling, "and in all thot time, Pedro Garcia, I'm killin' only seven horses, and all seven of thees horses is dyin', Pedro Garcia, when I haf buy them, and I haf buy all seven horses from you, Pedro Garcia, thief and robber!" He paused to take a breath. "And not once, Pedro Garcia," he went on, "do I keeck about thot-a horse is a horse! But I haf coom to you before! And I haf coom to you now! I must got a horse quick! And I bringin' thot horse back joost thee same as I'm gettin' thot horse--in good condition--better--because everybody is knowin.' I feed a horse better than you feed a horse--and I'm _cleanin'_ the horse once in a while, too!" Which was a lie, both as to the feeding and the cleaning, as he well knew, and as, indeed, he well knew Pedro knew, who, nevertheless, nodded grave assent.

"_Si_," admitted Pedro. "_Pero ustede--_"

"A horse!" thundered Felipe, interrupting, his neck cords dangerously distended. "You give me a horse--you hear? I want a horse--a horse! I don' coom here for thee talk!"

Pedro rose hastily from the keg. Also, he grunted quick consent. Then he stepped inside the store, followed by Felipe, who made several needed purchases, and, since he had his enemy cowed, and was troubled with thirst created by the protracted harangue, to say nothing of the strong inclination within him to celebrate the coming of the colt, he made a purchase that was not needed--a bottle of _vino_, cool and dry from Pedro's cellar. With these tucked securely under his arm, he then calmly informed Pedro of the true state of his finances, and left the store, returning across the settlement, which lay wrapped in pulsating noonday quiet. In the shade of his adobe he sat upon the ground, with his back comfortably against the wall. Directly the quiet was broken by two distinct sounds--the pop of a cork out of the neck of a bottle, and the gurgle of liquid into the mouth of a man.

Thus Felipe set out upon a protracted debauch. In this debauch he did nothing worth while. He used neither the borrowed horse nor his own sound one. Each day saw him redder of eye and more swollen of lip; each day saw him increasingly heedless of his debts; each day saw him more neglectful of his duties toward his animals. The one bottle became two bottles, the two bottles became three, each secured only after threatened assault upon the body of Pedro, each adding its store to the already deep conviviality and reckless freedom from all cares now Felipe's. He forgot everything--forgot the stolen money, forgot the colt, forgot the needs of the mare--all in exhilarated pursuit of phantoms.

Yet the colt did not suffer. Becoming ever more confident of himself as the days passed, he soon revealed pronounced curiosity and an aptitude for play. He would stare at strutting roosters, gaze after straddling hens, blink quizzically at the burro, frown upon the grunting pigs, all as if cataloguing these specimens, listing them in his thoughts, some day to make good use of the knowledge. But most of all he showed interest in and playfulness toward his mother and her doings. He would follow her about untiringly, pausing whenever she paused, starting off again whenever she started off--seemingly bent upon acquiring the how and why of her every movement.

Marcus Horton’s Bred of the Desert: A Horse and a Romance (1915) opens not with a human protagonist but with a sandstorm and a colt’s birth. The narrative immediately establishes a pattern of sensory immersion: the storm’s “yellow-pink softness” and “dust-devils” give way to the colt’s first perceptions. This dual focus—on landscape and animal consciousness—persists throughout the excerpts, with the horse Pat’s viewpoint rendered in tactile, instinctual terms. Horton frequently shifts between Pat’s internal experience and the actions of human characters, creating a layered structure that privileges the horse’s sensory world.

Storm and Stillness: The Desert as Character

The opening chapter’s sandstorm is not mere backdrop; it is a kinetic force that shapes the narrative’s rhythm. Horton describes the storm’s progress in long, rolling clauses: “Down the slopes to the west billowed giant clouds of sand. At the bottom these clouds tumbled and surged and mounted.” This movement mirrors the novel’s own structural ebb and flow between violent action and quiet observation. Later, Pat’s night journey through “winding alleys and streets” and “soft-rustling fields of alfalfa” offers a contrasting stillness, where objects “looming up before or beside him” become “tragic outlines.” The desert, whether in fury or calm, is never neutral; it presses on characters and reader alike.

Pat’s Interior World: Instinct and Resistance

Horton devotes extended passages to Pat’s thoughts, rendered without anthropomorphism. Pat “did not know” whether his journey was right or wrong, but “his instincts” guide him. The horse’s rebellion is physical: “He came to a sudden stop, threw down his head, pitched and bucked frantically.” Yet his resistance is also emotional, a “vague feeling that he should rebel.” Horton tracks Pat’s shifting moods—contentment, sullenness, antagonism—through bodily cues: the weight of the rider, the chafing of the bit. This interiority is the novel’s primary structural device, as human events are filtered through Pat’s limited but acute awareness.

Human Encounters and the Stranger’s Weight

The human characters appear largely through Pat’s perceptions. Felipe Montoya, introduced in the storm, is a “young and good-looking Mexican” whose whip and shouts are external stimuli. Later, a “stranger out of the night” rides Pat, and the horse’s discomfort grows from the man’s weight and rein grip. Horton uses physical details—the stranger’s “gentle” voice, his seat, his weight—to convey tension. The human drama remains oblique; the excerpts offer only fragments of motive or plot. What emerges is a pattern of intrusion: each human figure disrupts Pat’s equilibrium, forcing him to adapt or resist. The narrative’s structure thus hinges on these encounters, which are never fully explained from the human side.

Movement Between Scenes: The Night Journey

The excerpt of Pat’s night ride exemplifies Horton’s method of scene transition. The journey is a sequence of sensory snapshots: “Ranch-houses, clumps of trees, soft-rustling fields of alfalfa” appear and recede. Pat’s recognition of landmarks—a bend leading to the river bridge—anchors the movement in his perspective. The narrative pace slows when Pat walks, then quickens with his bucking. Horton uses the horse’s physical state to modulate tension: “As Pat grew aware of the weight it seemed to become heavier.” This technique, where external events are filtered through bodily sensation, gives the novel a distinctive rhythm, alternating between drifting observation and sudden, visceral conflict.

Readers should attend to how Horton uses Pat’s limited viewpoint to build suspense. The human story remains fragmentary in the excerpts, but the horse’s reactions—his instinctual trust, his growing unease—create a compelling emotional arc. The desert itself, with its storms and silences, is never merely setting; it is the force that shapes both Pat’s nature and the novel’s structure.

Reading about Pat’s lonely watch over the desert stirred up my own childhood mornings, lying in tall grass and imagining what my dog saw when he stared past the fence line. I felt that same quiet hush flipping through The Riflemen of the Miami — Edition Insights, where the land itself seems to hold its breath, patient for the small dramas we bring to it.

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