The Country Lady

The Country Lady When I started this page I was posting strictly country things including country recipes. Please be kind in your comments.

My page is meant to be a fun site with pictures, recipes, historical information and sites and pages that are the many different styles of country and vintage. I list sources if they are given but do not research each and every photo to find out if the information is correct. I realize there is misinformation on the internet but I am posting in good faith. If you disagree with something posted, please comment nicely. If you don't like the page, don't visit again.

11/11/2025

She never wanted that life—but hunger leaves little room for choice. In 1881, down in El Paso, Texas, Mercy Hollis’s mother did what she had to do to keep her baby alive. The saloon lights became her prison, each night traded for a few coins of milk and bread. Folks in town whispered her name like sin, but behind those whispers stood a woman who’d bleed before letting her child starve.

One night, a man she’d turned away came back with whiskey on his breath and hate in his eyes. Mercy hid behind the stove, small and trembling, while the room filled with screams and breaking glass. When it ended, her mother lay still—and the man didn’t rise again. They found him in the morning, cold as the floorboards, his blood drying near the child who never looked away.

Years passed, and Mercy grew into the kind of woman the frontier respected and feared. She worked her mother’s land with steady hands, never asking pity, never seeking grace. Some say she still spoke to the wind at sunset, whispering, *“You did what you had to, Ma.”* And if you listened close, you might swear the wind whispered back.

11/11/2025

The Fur Trader Who Became Cherokee

In the early 1700s, a Scottish fur trader made a choice that few Europeans of his time ever dared — he didn’t arrive to conquer, but to belong.

He entered the Cherokee Nation through marriage — not as an outsider, but as family.
In Cherokee society, marriage was more than love; it was a bridge between worlds. Through his Cherokee wife, he became part of her clan, her duties, and her people.

Generations later, his descendants would become interpreters, diplomats, and leaders who carried two worlds within them — the wisdom of the Cherokee and the knowledge of the settlers.

But the heart of this story isn’t about one man’s legacy.
It’s about a nation that believed belonging was earned through commitment, not blood.

The Cherokee welcomed those who stood with them, proving that true strength comes from inclusion, not exclusion.

Empires built walls.
The Cherokee built kinship.
And that’s a legacy that still speaks today.

11/11/2025

She was unmarried, deaf, and told women didn't need college. She left her entire fortune—$400,000 in 1870—to prove them wrong.
Sophia Smith was 62 years old in 1863 when the last of her family died, leaving her alone in the Massachusetts mansion where she'd lived her entire life.
She was unmarried. Increasingly deaf. A woman in her sixties with no husband, no children, no direct heirs. And suddenly, she was extraordinarily wealthy—one of the richest women in New England.
The problem: she had no idea what to do with it.
In 1860s America, women like Sophia had limited options. She couldn't vote. Couldn't serve on boards. Couldn't hold public office. Society expected wealthy single women to live quietly, donate to charities through their churches, and eventually leave their money to male relatives.
Sophia Smith had different ideas. She just hadn't figured them out yet.
Her fortune came from her father and brothers—smart investments in railroads and manufacturing during America's industrial expansion. By the time her last brother died, she'd inherited everything: approximately $400,000, equivalent to about $9.5 million today.
But Sophia wasn't interested in merely being rich. She wanted her wealth to matter. To change something fundamental about the world that had limited her throughout her life.
She consulted her pastor, Reverend John Morton Greene. What should she do with her fortune? How could she make it count?
Greene suggested something radical: establish a college. For women.
The idea seized Sophia's imagination. Here was a way to address something that had bothered her throughout her life: the systematic denial of education to women. Women couldn't attend Harvard, Yale, Princeton, or any of the prestigious colleges educating America's male leaders. A few female seminaries existed, but they offered watered-down curricula—finishing school, not serious scholarship.
The message was clear: women's minds weren't worth investing in. Women didn't need algebra or Latin or philosophy. They needed needlework and deportment.
Sophia Smith, self-educated and intelligent, knew this was nonsense.
In March 1870, at age 73, Sophia finalized her will. The language was bold and unambiguous:
"It is my opinion that by the higher and more thoroughly Christian education of women, what are called their 'wrongs' will be redressed, their wages adjusted, their weight of influence in reforming the evils of society will be greatly increased, as teachers, as writers, as mothers, as members of society, their power for good will be incalculably enlarged."
She directed that her entire fortune be used to establish a college that would provide women with educational opportunities "equal to those which are afforded now in our colleges to young men."
Not separate. Not different. Not lesser. Equal.
Three months after signing her will, Sophia Smith died on June 12, 1870. She never saw the college that would bear her name. Never met a single student. Never witnessed the revolution she'd set in motion.
But her will was ironclad. Her instructions were clear. And she'd appointed trustees determined to honor her vision.
Smith College was chartered in 1871. Finding a location, hiring faculty, and constructing buildings took years. Finally, on September 14, 1875, the college opened its doors to its first class: fourteen young women.
Fourteen students doesn't sound revolutionary. But in 1875 America, it was radical.
These women studied the same curriculum as Harvard men: Latin, Greek, mathematics, natural sciences, philosophy, history. No dumbing down. No "female version" of education. The real thing.
The faculty took them seriously. The coursework was rigorous. The expectations were high. And the women proved they could meet them.
Critics claimed women's brains couldn't handle serious study. That advanced education would damage women's reproductive systems. That college would make women unmarriageable, unfeminine, unnatural.
Smith College graduates proved them wrong, one degree at a time.
What made Sophia Smith's vision especially powerful was its timing. The 1870s women's rights movement was gaining momentum. Susan B. Anthony and Elizabeth Cady Stanton were fighting for suffrage. Women were entering professions previously closed to them. But they constantly hit the same barrier: lack of education.
You couldn't be a doctor without medical school. Couldn't be a lawyer without law school. Couldn't be a professor without a college degree. And colleges wouldn't admit women.
Sophia Smith's endowment broke that barrier. Smith College graduates could pursue graduate degrees, enter professions, compete on equal intellectual footing with men.
The ripple effects were enormous.
Smith College graduated its first class in 1879. Among those early graduates: teachers who started their own schools, writers who published groundbreaking work, activists who fought for women's rights, scientists who made discoveries that changed their fields.
By 1900, Smith College had over 1,000 students. By the 1920s, it was one of the premier women's colleges in America—part of the "Seven Sisters" alongside Wellesley, Vassar, Radcliffe, Barnard, Bryn Mawr, and Mount Holyoke.
These institutions produced generations of women leaders. Betty Friedan (Smith '42) wrote The Feminine Mystique. Gloria Steinem (Smith '56) became a feminist icon. Sylvia Plath (Smith '55) became one of America's greatest poets. Barbara Bush (Smith '47) became First Lady.
All because a deaf, unmarried woman in Massachusetts decided her fortune should empower women she'd never meet.
Sophia Smith never married. Some historians speculate she may have had a romance in her youth that ended, leaving her single. Others suggest she simply preferred independence. In 1860s America, unmarried women were pitied, dismissed as spinsters, treated as incomplete.
But Sophia Smith's single status gave her something married women didn't have: complete control over her wealth. Married women's property automatically became their husbands' property under coverture laws. Sophia's money was entirely her own to direct as she wished.
She used that power to create opportunities for women that didn't exist in her own lifetime.
That's a particular kind of generosity: investing in a future you won't live to see, for people you'll never know, because you believe they deserve better than what you had.
Sophia Smith never attended college herself. Her education was limited, self-directed, achieved through reading and determination rather than formal instruction. She knew firsthand what women lost by being denied educational access.
And she decided to change that. Not through advocacy or protest or political action—avenues largely closed to women in her era—but through the one tool she had: her fortune.
Today, Smith College has an endowment over $2 billion. It's educated over 50,000 women. Its alumnae include Pulitzer Prize winners, Nobel laureates, members of Congress, CEOs, groundbreaking scientists, acclaimed artists.
None of it would exist without Sophia Smith's 1870 decision to leave her entire fortune to a college that didn't yet exist, for students not yet born, to study subjects women supposedly couldn't master.
In her will, Sophia wrote that she hoped her college would help women develop "their full intellectual and moral potential." She believed education could transform individual lives and, through those transformed lives, society itself.
She was right.
Sophia Smith died alone, deaf, unmarried—circumstances that might have rendered her invisible to history. Instead, she became one of the most influential women in American education.
Not by breaking barriers herself, but by funding the institution that would help generations of women break every barrier that followed.
She couldn't attend college. So she built one.
And 150 years later, it's still opening doors she never got to walk through.

11/10/2025

June, Helen, and Anita Carter in 1941 from Life Magazine.

11/10/2025

In this ca. 1864 photo, silver ore is being treated by the Patio Process at the Gould & Curry mill (Virginia City, Nevada). Note the horses mixing the crushed ore in the pans.

11/10/2025

When he died in 1903, John Nelson left behind a life as vast and untamed as the mountains he had roamed. A famed mountain man, he had married into the Brule Sioux through a niece of Spotted Tail, the first of several Native wives who shaped both his family and his story. Nelson never stayed in one place for long—he wandered across the West, taking odd jobs, chasing adventure, and more than once finding himself in trouble. The wilderness was his home, and the unpredictable frontier his constant companion.

By 1884, his travels brought him into the limelight of the Buffalo Bill Wild West Show, where he proudly claimed to have known William Cody since 1857. Cody himself once remarked, with a mixture of amusement and exasperation, “A good fellow, though as a liar he has few equals and no superiors.” Nelson’s children—Jack, James, Yellow Horse, and Rose, known on stage as Princess Blue Waters—followed in his footsteps, performing in Wild West shows and carrying on the family tradition of skill, spectacle, and legend.

His last wife, Jenny Lone Wolf, tied him even more closely to history. Her father, Old Smoke, had raised both her and Chief Red Cloud as siblings, embedding Nelson’s family within the fabric of Native leadership and culture. In the end, Nelson’s life stood at the crossroads of two worlds: the raw, untamed frontier he had loved and the theatrical, larger-than-life Wild West shows that brought the West to the nation’s imagination. His story—a blend of truth, embellishment, and survival—endures as a testament to a man who lived the frontier on his own terms.

https://www.facebook.com/share/1FbJBoF5Fu/?mibextid=wwXIfr
11/10/2025

https://www.facebook.com/share/1FbJBoF5Fu/?mibextid=wwXIfr

For the first time in nearly two millennia, visitors can once again walk along the ancient beach of Herculaneum, the Roman city forever frozen in time by the eruption of Mount Vesuvius in 79 AD.

Unlike Pompeii — which was buried in ash — Herculaneum was entombed under a thick layer of volcanic mud and superheated rock, sealing its villas, mosaics, and wooden structures in an astonishing state of preservation. The result is a hauntingly vivid snapshot of a world stopped mid-motion: wine amphorae still corked, furniture carbonized but intact, and frescoes gleaming with their original colors.

It was along this ancient shoreline that archaeologists uncovered one of history’s most sobering discoveries — the remains of nearly 300 people, huddled inside ancient boat houses as they tried to escape the fiery apocalypse. The victims were found with their jewelry, coins, and personal belongings, their final moments captured in chilling detail. Among them were soldiers, merchants, children, and servants, their fates united by catastrophe.

Now, after extensive conservation efforts, this beachfront area has been reopened to the public, allowing visitors to tread the same volcanic sand where tragedy unfolded nearly 2,000 years ago. For archaeologists, it is an unparalleled window into Roman life and death, revealing everything from social hierarchies to health, diet, and even patterns of evacuation.

Standing there, surrounded by the echoes of the ancient sea and the shadow of Vesuvius, is to confront the fragile line between civilization and nature’s fury. The beach of Herculaneum is no longer a place of leisure — it is a memorial to resilience, memory, and humanity itself, reminding us how swiftly even the greatest cities can be overtaken by the forces of the Earth.

11/10/2025

His career was destroyed when newspapers confused him with a criminal. He sold his ranch to buy his old films. That bet made him television's first millionaire.
This is the story of William Boyd—a man who lost everything twice and came back richer each time.
William was born in 1895, the son of a day laborer in Ohio. When he was seven, his family moved to Tulsa, Oklahoma, chasing better opportunities that never quite materialized. Then, while he was still in his early teens, both his parents died.
At 14 years old, William Boyd had to quit school and become the man of the family. He worked as a grocery clerk. He worked as a surveyor. He worked in the Oklahoma oil fields—brutal, dangerous work that aged men before their time.
By the time he was in his early twenties, William's hair had already gone gray.
In 1919, he decided to take a chance. He'd heard stories about Hollywood, about ordinary people becoming stars, about a new industry that was making dreams come true. So he packed what little he had and headed to California.
His first job in Hollywood was as an extra in Cecil B. DeMille's "Why Change Your Wife?" (1920). It paid almost nothing, but William was smart. He spent what money he had on fancy clothes—the kind of clothes that made him look like he already belonged. Then he made sure to position himself where DeMille would notice him.
It worked.
DeMille saw something in the gray-haired young man with the striking looks. In 1926, he cast William Boyd as the romantic lead in "The Volga Boatman," a major studio picture. Almost overnight, William became a matinée idol. Women loved him. Studios wanted him. By the late 1920s, he was earning upwards of $100,000 a year—extraordinary money for that era.
The orphaned son of a day laborer had become one of Hollywood's biggest stars.
Then everything collapsed.
When sound came to movies in the late 1920s, the entire industry transformed overnight. Some stars made the transition. Many didn't. William Boyd found himself without a contract and unable to find work. His type of silent-film stardom didn't translate to the new medium.
He was going broke.
Then it got worse.
In 1931, newspapers ran a story about an actor named William Boyd being arrested on gambling, liquor, and morals charges. The problem? It was a different William Boyd—a stage actor named William "Stage" Boyd.
But the newspapers ran the wrong picture. They ran our William Boyd's photograph alongside the arrest story.
His reputation was destroyed overnight. Studios that were already hesitant to hire him now wouldn't touch him. The scandal—entirely false, entirely not his fault—followed him everywhere. His career didn't just stall. It died.
By the mid-1930s, William Boyd was broke, unemployed, and blacklisted in Hollywood through no fault of his own. The second time he'd lost everything.
Most people would have given up. William didn't.
In 1935, a producer named Harry Sherman was casting a low-budget Western based on pulp-fiction stories about a character called "Hopalong Cassidy"—named for a limp caused by an old bullet wound. It wasn't glamorous. It wasn't big money. But it was work.
William Boyd took the role.
But he didn't just take the role—he transformed it.
The original Hopalong Cassidy from the pulp stories was a rough, to***co-chewing, hard-drinking cowboy. William decided to do something different. He made Hopalong Cassidy a hero children could look up to. His "Hoppy" didn't smoke. Didn't drink. Didn't chew to***co. Didn't swear. Rarely even kissed a girl. He let the bad guy draw first, always fought fair, and represented honor and integrity.
William Boyd understood something most people in Hollywood didn't: parents wanted heroes their children could admire.
The films were wildly successful. From 1935 to 1943, William made 54 Hopalong Cassidy films for Harry Sherman. Every single one made at least double its production costs. After Sherman dropped the series, William produced and starred in 12 more independently from 1946 to 1948.
He was successful again. Stable again. He'd bought a ranch. He was comfortable.
And then he made the decision that would change everything.
In 1948, television was new. Most people didn't own TV sets yet. Nobody knew if this experimental medium would even last. The big studios thought television was a fad that would fade. They certainly didn't think old Western movies had any value on TV.
But William Boyd saw something they didn't.
He approached Harry Sherman and the other rights holders and offered to buy the complete rights to all 66 Hopalong Cassidy films. They thought he was crazy. Who would pay good money for old B-westerns?
To raise the purchase price—around $350,000 (roughly $4.5 million today)—William sold his ranch. He bet everything he had rebuilt on a hunch about television.
Everyone thought he'd lost his mind.
Then television exploded.
TV stations were desperate for content, especially for Saturday morning programming when kids were home. William Boyd licensed his Hopalong Cassidy films to NBC. Within months, "Hoppy" was one of the most-watched shows in America. By 1950, over 50 million people—nearly a third of the U.S. population—were watching Hopalong Cassidy every week.
But William Boyd didn't stop there.
He became the first person to truly understand what television merchandising could be. He licensed Hopalong Cassidy lunch boxes. Toy guns. Cowboy hats. Comic books. Radio shows. Records. Anything parents would buy for their children, William Boyd put Hopalong Cassidy's face on it.
At one point, there were more than 2,000 Hopalong Cassidy products on the market.
The royalties poured in. By the early 1950s, William Boyd was making more money than any television star in America—more than Milton Berle, more than Lucille Ball, more than anyone. His income from Hopalong Cassidy exceeded $70 million over his lifetime (well over $700 million in today's dollars).
The orphaned son of a day laborer, who'd lost everything twice, who'd been falsely disgraced and left for broke in his forties, had become television's first self-made millionaire.
And he'd done it by owning his content.
William Boyd's decision to buy the rights to his films created the blueprint for every entertainment empire that followed. Walt Disney watched what Boyd did with Hopalong Cassidy and applied the same merchandising strategy to Mickey Mouse. George Lucas would later insist on owning the merchandising rights to Star Wars—a decision that made him billions—directly citing Boyd's example.
William Boyd didn't just save his own career. He invented the modern entertainment business model.
But here's what makes his story so powerful: he could have been bitter. After being falsely accused, blacklisted, and left broke in Hollywood, he could have become cynical. Instead, he chose to create something wholesome. He chose to be a hero worth watching. He chose integrity over cynicism.
Hopalong Cassidy represented the values William Boyd wished he'd seen more of in Hollywood—fairness, honor, courage without cruelty. He didn't just play a character. He lived up to one.
William Boyd died in 1972 at age 77. By then, Hopalong Cassidy had faded from popular culture—tastes had changed, Westerns had fallen out of favor. But his impact never faded.
Every time you see a Star Wars action figure, you're seeing William Boyd's legacy.
Every time a studio fights to own intellectual property rights, they're following the path he pioneered.
Every time an entertainer builds an empire on merchandising, they're walking the trail William Boyd blazed when everyone said he was crazy to buy his old Western films.
The orphaned teenager who worked in oil fields.
The matinée idol who lost everything when the movies learned to talk.
The innocent man whose career was destroyed by a newspaper's mistake.
The cowboy who bet his ranch on television and won.
William Boyd proved that losing everything isn't the end of your story—it's just the middle. That being falsely accused doesn't have to define you. That the most visionary bets look crazy until they pay off.
And that sometimes, creating something good for children is worth more than any amount of gritty realism.
He sold his ranch to buy 66 old cowboy movies.
That bet made him television's first millionaire and changed entertainment forever.
Not bad for a day laborer's son who never gave up.

11/10/2025

He was the greatest king England never had, a celebrated warrior known as the Black Prince. But a dark stain on his soul reveals why earthly glory is so fleeting, a lesson sealed by his own hand before his untimely death.

11/10/2025

I was the joke on a teenager’s phone the day I decided not to quit. They caught me at the whiteboard, my hand shaking, the dry-erase marker squeaking like a mouse in a trap.

Some kid set a beat on his phone, and the whole room snickered to the rhythm of my stutter. A soundtrack for old age, I thought. My name on the staff roster is Mrs. Carmichael, but that day I was “bruh,” “okay grandma,” a slow meme that would take a lap around little blue screens and come home stinking of cruelty.

I’m sixty-seven. I started teaching in 1979, when the school smelled like floor wax and pencil shavings and the radiators banged in the winter like a man with a hammer. Chalk dust clung to our clothes.

I had a Buick Skylark with a tape deck that devoured my Fleetwood Mac cassette. I wore the same brown skirt twice a week and kept bobby pins in a jelly jar on my desk because girls came to me with undone hair before first period.

We had a payphone near the cafeteria, and kids used dimes to call home. The meanest thing a student could do back then was write your name with horns in a Trapper Keeper and show it to two friends who would forget it by Friday.

Now I stand under lights that hum all day while phones blink like minnows. The building is cleaner, the rules are thornier, and cameras hide in every palm like a secret knife. Some days, the work feels like walking uphill through molasses. And yet, when the heat clanks on in October, I still hear the old pipes arguing with winter and I think, All right, old girl, we’re both still at it.

It happened third period, American Literature, eleven bodies slouched like question marks. We were reading a short story about a man who gave away his last good thing for love.

I asked them what good things they would surrender for someone they loved. Blank faces. Someone yawned and said, “Not my phone.” Laughter—the soft, mean kind.

In ’83, they would have shot hands up and talked about varsity jackets, mixtapes, and letters pinned under your collar like promises. In ’93, they would have argued about CDs, car keys, and the best seat on the bus. Today, they kept their eyes glassy and their thumbs hungry.

Then Jamal came in late. He is sixteen and tired the way old men get tired, from carrying weight that should belong to someone else. He smelled like laundry detergent and worry. He sat down, hoodie up, and never looked at me.

I said, “We just started,” and the beat on the phone kicked in. A boy mushed his cheeks with his fingers and made a fish face when my marker squeaked. The laughter broke across the room a small, cheap storm. My throat locked.

I could feel the years like stones in my pockets every detour to the nurse’s office with a nosebleed, every mother who never answered, every breakfast bar fed under the radar. Thirty-nine first days of school, and still the surprise of humiliation. I wiped my hand on my skirt, leaving a white smudge of ink and sweat.

“Get the beat off,” Jamal said then, not loud, not threatening. Just tired. The room shifted.

I could have written them up. I could have sent them out and called it discipline. I have done that, and sometimes it works, sometimes it leaves a bruise. Instead, I set the marker down carefully, the way you set a glass when you’re not sure if your hand will betray you.

“When I started,” I said, “we used overhead projectors, and the film would curl if the bulb got too hot. We’d tape it down with Scotch, and it still made shadows that lurched like ghosts on the wall.

I made the kids read their papers out loud, and half of them were scared to death. But they tried. You know what they gave up? Looking cool. For three minutes, they gave up looking cool.”

I didn’t mean to talk about the old days. I hate when old people do that at the grocery store and block the frozen peas. But my voice kept finding a steady place.

“My first class sent me a Christmas card with twenty-two names and a Polaroid I still have. The boy who never sat still brought me a Tin Lizzy button from a yard sale. The girl whose father drank—she learned to run the mimeograph and had purple hands all day. None of it shows up on a phone. It’s the kind of thing that only matters if you let it matter.”

Silence. A cough. The beat died, or the boy turned it down slyly. My hand stopped shaking.

Jamal had put his head down on the desk like a soldier sleeping on his pack. “I’d give my seat,” he said into the crook of his elbow.

“Your seat?” I asked.

“On the 5:40. I catch the bus to my mom’s job sometimes. There’s this old guy, he gets on two stops after me, and I act like I don’t see him because I’m tired. But I’d give my seat.”

It wasn’t much. But it shifted the air. The phone boy cleared his throat. “I’d give… I don’t know. My charger.” Laughter again, but softer. “Okay, okay,” he said. “My day off. If my little brother wanted to go to Six Flags and my mom couldn’t, I’d take him.”

We went around the room. Most of it was nonsense half-promise, half-performance but here and there, something true showed its teeth.

A girl with a scar across her eyebrow, who never spoke, whispered, “My new shoes,” and looked at the floor as if the shoes belonged there. I wrote their words on the board as they said them: seat, day off, shoes, last slice of pizza, hoodie, birthday wish, time.

The bell rang. They scraped chairs, shoved notebooks, and left some with a nod, some with the careful absence young people wear when afraid of sincerity. The phone boy lingered, eyes on his screen. I expected the ping of my own foolishness online before noon.

“Mrs. C?” he said. “My mom used to talk about your class. Back when. She had you in ’01. She said you made her read poems she hated and now she quotes them at me when I get slick. The one about… miles to go before I sleep.” He smiled, and it made him look seven. “She said if I got you, I should keep my head down, but listen.”

“Tell her I remember her purple backpack,” I said, because I did. Because even as the years sieve through me, the bright stones stay. “Tell her I said thank you for the poems.”

After the last bell, when the winter sun made a long blade across the linoleum, I stayed and wiped the board clean. My hand didn’t shake. The soft, squeaky sound was the same as it was in 1979, as honest as a heartbeat.

There was a note on my desk, folded like a paper boat. A square of binder paper, jagged where it had been torn. Mrs. C, it said. I’m sorry about the video. I told them to delete it. I will give up my seat. —J.

I didn’t cry. I am not a saint and I am not a fool. I am a woman who has carried a bag of keys for four decades, who knows which door sticks in November, which kid is allergic to peanuts, which office lady will find a spare sweatshirt when the heat gives up.

The world has changed around me, gotten faster, brighter, meaner in the corners. But teenagers are still animals of hope skittish and fine-boned, mean when frightened, tender when trusted.

On my way out, I dropped the note into the jelly jar with the bobby pins. It bobbed there, a new kind of tool. In the hall, some freshman barreled past and mumbled sorry without slowing. My shoes found the old rhythm on the worn tile, heel-toe, heel-toe the same steps I’ve taken since the Carter years.

Out in the parking lot, the sky had that winter bruise of blue. A bus hissed, doors folding like a book. Kids climbed on, and inside, without anyone filming it, someone stood up and gave away a seat. I couldn’t see who. It doesn’t matter.

Some things endure because someone chooses, in a small, ordinary moment, to let them.

Address

Janesville, WI

Website

Alerts

Be the first to know and let us send you an email when The Country Lady posts news and promotions. Your email address will not be used for any other purpose, and you can unsubscribe at any time.

Contact The Business

Send a message to The Country Lady:

Share