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SITKA CHARLEY smoked his pipe and gazed thoughtfully at the newspaper illustration on the wall. For half an hour he had been steadily regarding it, and for half an hour I had been slyly watching him. Something was going on in that mind of his, and, whatever it was, I knew it was well worth knowing. He had lived life, and seen things, and performed that prodigy of prodigies, namely, the turning of his back upon his own people, and, in so far as it was possible for an Indian, becoming a white man even in his mental processes. As he phrased it himself, he had come into the warm, sat among us, by our fires, and become one of us.
     We had struck this deserted cabin after a hard day on trail. The dogs had been fed, the supper dishes washed, the beds made, and we were now enjoying that most delicious hour that comes each day, on the Alaskan trail, when nothing intervenes between the tired body and bed save the smoking of the evening pipe.
     "Well?" I finally broke the silence.
     He took the pipe from his mouth and said, simply, "I do not understand."
     He smoked on again, and again removed the pipe, using it to point at the illustration.
     "That picture—what does it mean? I do not understand."
     I looked at the picture. A man, with a preposterously wicked face, his right hand pressed dramatically to his heart, was falling backward to the floor. Confronting him, with a face that was a composite of destroying angel and Adonis, was a man holding a smoking revolver.
     "One man is killing the other man," I said, aware of a distinct bepuzzlement of my own and of a failure to explain.
     "Why?" asked Sitka Charley.
     "I do not know," I confessed.
     "That picture is all end," he said. "It has no beginning."
     "It is life," I said.
     "Life has beginning," he objected.
     "Look at that picture," I commanded, pointing to another decoration. "It means something. Tell me what it means to you."
     He studied it for several minutes.
     "The little girl is sick," he said, finally. "That is the doctor looking at her. They have been up all night—see, the oil is low in the lamp, the first morning light is coming in at the window. It is a great sickness; maybe she will die; that is why the doctor looks so hard. That is the mother. It is a great sickness, because the mother's head is on the table and she is crying."
     "And now you understand the picture," I cried.
     He shook his head, and asked, "The little girl—does it die?"
     It was my turn for silence.
     "Does it die?" he reiterated. "You are a painter-man. Maybe you know."
     "No, I do not know," I confessed.
     "It is not life," he delivered himself, dogmatically. "In life little girl die or get well. Something happen in life. In picture nothing happen. No, I do not understand pictures."
     "Pictures are bits of life," I said. "We paint life as we see it. For instance, Charley, you are coming along the trail. It is night. You see a cabin. The window is lighted. You look through the window for one second, or for two seconds; you see something, and you go on your way. You see maybe a man writing a letter. You saw something without beginning or end. Nothing happened. Yet it was a bit of life you saw. You remember it afterward. It is like a picture in your memory. The window is the frame of the picture."
     For a long time he smoked in silence. He nodded his head several times, and grunted once or twice. Then he knocked the ashes from his pipe, carefully refilled it, and, after a thoughtful pause, he lighted it again.
     "Then have I, too, seen many pictures of life," he began; "pictures not painted but seen with the eyes. I have looked at them like through the window at the man writing the letter. I have seen many pieces of life, without beginning, without end, without understanding."
     With a sudden change of position he turned his eyes full upon me and regarded me thoughtfully.
     "Look you," he said; "you are a painter-man. How would you paint this which I saw, a picture without beginning, the ending of which I do not understand, a piece of life with the northern lights for a candle and Alaska for a frame?"
     "It is a large canvas," I murmured.
     "There are many names for this picture," he said. "But in the picture there are many sun-dogs, and it comes into my mind to call it 'The Sun-dog Trail.' It was seven years ago, the fall of '97, when I saw the woman first time. At Lake Linderman I had one canoe. I came over Chilcoot Pass with two thousand letters for Dawson. Everybody rush to Klondike at that time. Many people on trail. Many people chop down trees and make boats. Last water, snow in the air, snow on the ground, ice on the lake, on the river. Every day more snow, more ice, any day maybe freeze-up come; then no more water, all ice, everybody walk; Dawson six hundred miles; long time walk. Boat go very quick. Everybody want to go boat. Everybody say, 'Charley, two hundred dollars you take me in canoe,' 'Charley, three hundred dollars,' 'Charley, four hundred dollars.' I say no; all the time I say no. I am letter-carrier.
     "In the morning I get to Lake Linderman; I walk all night and am much tired. I cook breakfast, I eat, then I sleep on the beach three hours. I wake up. It is ten o'clock. Snow is falling. There is wind, much wind that blows fair. Also, there is a woman who sits in the snow alongside. She is white woman, she is young, very pretty; maybe she is twenty years old, maybe twenty-five years old. She look at me. I look at her. She is very tired. She is no dance-woman. I see that right away. She is good woman, and she is very tired.
     "'You are Sitka Charley,' she says. 'I go to Dawson,' she says. 'I go in your canoe—how much?'
     "I do not want anybody in my canoe. I do not like to say no. So I say, 'One thousand dollars.' She look at me very hard, then she says, 'When you start?' I say right away. Then she says all right, she will give me one thousand dollars.
     "What can I say? I do not want the woman, yet have I given my word that for one thousand dollars she can come. And that woman, that young woman, all alone on the trail, there in the snow, she take out one thousand dollars in greenbacks, and she put them in my hand. I look at my money, I look at her. What can I say? I say: 'No; my canoe very small. There is no room for outfit.' She laugh. She says: 'I am great traveller. This is my outfit.' She kick one small pack in the snow. It is two fur robes, canvas outside, some woman's clothes inside. I pick it up. Maybe thirty-five pounds. I am surprised. She take it away from me. She says, 'Come, let us start.' She carries pack into canoe. What can I say? I put my blankets into canoe. We start.
     "And that is the way I saw the woman first time. The wind was fair. I put up small sail. The canoe went very fast. The woman was much afraid. 'What for you come Klondike much afraid?' I ask. She laugh at me, a hard laugh, but she is still much afraid. Also she is very tired. I run canoe through rapids to Lake Bennett. Water very bad, and woman cry out because she is afraid. We go down Lake Bennett. Snow, ice, wind like a gale, but woman is very tired and go to sleep.
     "That night we make camp at Windy Arm. Woman sit by fire and eat supper. I look at her. She is pretty. She fix hair. There is much hair, and it is brown; also sometimes it is like gold in the firelight when she turn her head, so, and flashes come from it like golden fire. The eyes are large and brown. When she smile—how can I say?—when she smile I know white man like to kiss her, just like that, when she smile. She never do hard work. Her hands are soft like a baby's hand. She is not thin, but round like a baby; her arm, her leg, her muscles, all soft and round like baby. Her waist is small, and when she stand up, when she walk, or mover her head or arm, it is—I do not know the word—but it is nice to look at, like—maybe I say she is built on lines like the lines of a good canoe, just like that,—and when she move she is like the movement of the good canoe sliding through water when it is white and fast and angry. It is very good to see.
     "I ask her what is her name. She laugh, then she says, 'Mary Jones; that is my name.' But I know all the time that Mary Jones is not her name.
     "It is very cold in canoe, and because of cold sometimes she not feel good. Sometimes she feel good and she sing. Her voice is like a silver bell, and I feel good all over like when I go into church at Holy Cross Mission, and when she sing I feel strong and paddle like hell. Then she laugh and says, 'You think we get to Dawson before freeze-up, Charley?' Sometimes she sit in canoe and is thinking far away, her eyes like that, all empty. She does not see Sitka Charley, nor the ice, nor the snow. Sometimes, when she is thinking far away, her face is not good to see. It looks like a face that is angry, like the face of one man when he want to kill another man.
     "Last day to Dawson very bad. Shore-ice in all the eddies, mush-ice in the stream. I cannot paddle. The canoe freeze to ice. All the time we go down Yukon in the ice. Then ice stop, canoe stop, everything stop. 'Let us go to shore,' the woman says. I say no; better wait. By and by everything start down-stream again. There is much snow; I cannot see. At eleven o'clock at night everything stop. At one o'clock everything start again. At three o'clock everything stop. Canoe is smashed like egg-shell, but it is on top of ice and cannot sink. I hear dogs howling. We wait; we sleep. By and by morning come. There is no more snow. It is the freeze-up, and there is Dawson. Canoe smash and stop right at Dawson. Sitka Charley has come in with two thousand letters on very last water.
     "The woman rent a cabin on the hill, and for one week I see her no more. Then one day, she come to me. 'Charley,' she says, 'how do you like to work for me? You drive dogs, make camp, travel with me.' I say that I make too much money carrying letters. She says, 'Charley, I will pay you more money.' I tell her that pick-and-shovel man get fifteen dollars a day in the mines. She says, 'that is four hundred and fifty dollars a month.' And I say, 'Sitka Charley is no pick-and-shovel man.' Then she says: 'I understand, Charley. I will give you seven hundred and fifty dollars each month.' It is a good price, and I go to work for her. I buy for her dogs and sled. We travel up Klondike, up Bonanza and Eldorado, over to Indian River, to Sulphur Creek, to Dominion, back across divide to Gold Bottom and to Too Much Gold, and back to Dawson. All the time she look for something; I do not know what.
     "She has a small revolver, which she carries in her belt. Sometimes, on trail, she makes practice with revolver.
     "At Dawson comes the man. Which way he come I do not know. Only do I know he is che-cha-quo—what you call tenderfoot. His hands are soft. He never do hard work. At fist I think maybe he is her husband. But he is too young. He is maybe twenty years old. His eyes blue, his hair yellow; he has a little mustache which is yellow. His name is John Jones. Maybe he is her brother. I do not know.
     "One night I am asleep at Dawson. He wake me up. He says, 'Get the dogs ready; we start.' No more do I ask questions, so I get the dogs ready and we start. We go down the Yukon. It is night-time, it is November, and it is very cold—sixty-five below. She is soft. He is soft. The cold bites. They get tired. They cry under their breaths to themselves. By and by I say better we stop and make camp. But they say that they will go on. After that I say nothing. All the time, day after day, it is that way. They are very soft. They get stiff and sore. They do not understand moccasins, and their feet hurt very much. They limp, they stagger like drunken people, they cry under their breaths; and all the time they say: 'On! on! We will go on!'
     "We make Circle City. That for which they look is not there. I think now that we will rest, and rest the dogs. But we do not rest; not for one day do we rest. 'Come,' says the woman to the man, 'let us go on.' And we go on. We leave the Yukon. We cross the divide to the west and swing down into the Tanana Country. There are new diggings there. But that for which they look for is not there, and we take the back trail to Circle City.
     "It is a hard journey. December is 'most gone. The days are short. It is very cold.
     "We limp into Circle City. It is Christmas eve. I dance, drink, make a good time, for to-morrow is Christmas day and we will rest. But no. It is five o'clock in the morning—Christmas morning. I am two hours asleep. The man stand by my bed. 'Come, Charley,' he says; 'harness the dogs. We start.' I harness the dogs, and we start down the Yukon.
     "They are very weary. They have travelled many hundreds of miles, and they do not understand the way of the trail. Besides, their cough is very bad—the dry cough that makes strong men swear and weak men cry. Every day they go on. Never do they rest the dogs. Always do they buy new dogs. At every camp, at every post, at every Indian village, do they cut out the tired dogs and put in fresh dogs. They have much money, money without end, and like water they spend it. They are crazy? Sometimes I think so, for there is a devil in them that drives them. They cry aloud in their sleep at night. And in the day, as they stagger along the trail, they cry under their breaths.
     "We pass Fort Yukon. We pass Fort Hamilton. We pass Minook. January has come and nearly gone. The days are very short. At nine o'clock comes daylight. At three o'clock comes night. And it is cold. And even I, Sitka Charley, am tired. Will we go on forever this way without end? I do not know. But always do I look along the trail for that which they try to find. There are few people on the trail. Sometimes we travel one hundred miles and never see a sign of life. The northern lights flame in the sky, and the sun-dogs dance, and the air is filled with frost-dust.
     "I am Sitka Charley, a strong man. I was born on the trail, and all my days have I lived on the trail. And yet have these two baby wolves made me tired. Their eyes are sunk deep in their heads, bright sometimes as with fever, dim and cloudy sometimes like the eyes of the dead. Their cheeks are black and raw from many freezings. Sometimes it is the woman in the morning who says: 'I cannot get up. I cannot move. Let me die.' And it is the man who stands beside her and says, 'Come, let us go on.'
     "Sometimes, at the trading-posts, the man and woman get letters. I do not know what is in the letters. But it is the scent that they follow; these letters themselves are the scent. One time an Indian gives them a letter. I talk with him privately. He says it is a man with one eye who gives him the letter—a man who travels fast down the Yukon. That is all. But I know that the baby wolves are after the man with the one eye.
     "It is February, and we have travelled fifteen hundred miles. We are getting near Bering Sea, and there are storms and blizzards. The going is hard. We come to Anvig. I do not know, but I think sure they get a letter at Anvig, for they are much excited, and they say, 'Come, hurry; let us go on.' But I say we must buy grub, and they say we must travel light and fast. Also, they say that we can get grub at Charley McKeon's cabin. Then do I know that they take the big cut-off, for it is there that Charley McKeon lives where the Black Rock stands by the trail.
     "Before we start I talk maybe two minutes with the priest at Anvig. Yes, there is a man with one eye who has gone by and who travels fast. And I know that for which they look is the man with the one eye. We leave Anvig with little grub, and travel light and fast. We take the big cut-off, and the trail is fresh. The baby wolves have their noses down to the trail, and they say, 'Hurry!' All the time do they say: 'Hurry! Faster! Faster!' It is hard on the dogs. We have not much food and we cannot give them enough to eat, and they grow weak. Also, they must work hard. The woman has true sorrow for them, and often, because of them, the tears are in her eyes. But the devil in her that drives her on will not let her stop and rest the dogs.
     "And then we come upon the man with the one eye. He is in the snow by the trail and his leg is broken. Because of the leg he has made a poor camp, and has been lying on his blankets for three days and keeping a fire going. When we find him he is swearing. Never have I heard a man swear like that man. I am glad. Now that they have found that for which they look, we will have a rest. But the woman says: 'Let us start. Hurry!'
     "I am surprised. But the man with the one eye says: 'Never mind me. Give me your grub. You will get more grub at McKeon's cabin to-morrow. Send McKeon back for me. But do you do on.' So we give him our grub, which is not much, and we chop wood for his fire, and we take his strongest dogs and go on. We left the man with one eye there in the snow, and he died there in the snow, for McKeon never went back for him.
     "That day and that night we had nothing to eat, and all next day we travelled fast, and we were weak with hunger. Then we came to the Black Rock, which rose five hundred feet above the trail. It was at the end of the day. Darkness was coming, and we could not find the cabin of McKeon. We slept hungry, and in the morning looked for the cabin. It was not there, which was a strange thing, for everybody know that McKeon lived in a cabin at Black Rock. We were near to the coast, where the wind blows hard and there is much snow. Everywhere were there small hills of snow where the wind had piled it up. I have a thought, and I dig in one and another of the hills of snow. Soon I find the walls of the cabin, and I dig down to the door. I go inside. McKeon is dead. Maybe two or three weeks he is dead. A sickness had come upon him so that he could not leave the cabin. He had eaten his grub and died. I looked for his cache, but there was no grub in it.
     "'Let us go on,' said the woman. Her eyes were hungry, and her hand was upon her heart, as with the hurt of something inside. She swayed back and forth like a tree in the wind as she stood there.
     "'Yes, let us go on,' said the man. His voice was hollow, like the klonk of an old raven, and he was hunger-mad. His eyes were like live coals of fire, and as his body rocked to and fro, so rocked his soul inside. And I, too, said, 'Let us go on.' For that one thought, laid upon me like a lash for every mile of fifteen hundred miles, had burned itself into my soul, and I think that I, too, was mad. Besides, we could only go on, for there was no grub. And we went on, giving no thought to the man with the one eye in the snow.
     "The snow had covered the trail, and there was no sign that men had ever come or gone that way. All day the wind blew and the snow fell, and all day we travelled. Then the woman began to fall. Then the man. I did not fall, but my feet were heavy, and I caught my toes and stumbled many times.
     "That night is the end of February. I kill three ptarmigan with the woman's revolver, and we are made somewhat strong again. But the dogs have nothing to eat. They try to eat their harness, which is of leather and walrus-hide, and I must fight them off with a club and hang all the harness in a tree. And all night they howl and fight around that tree. But we do not mind. We sleep like dead people, and in the morning get up like dead people out of our graves and go on along the trail.
     "That morning is the 1st of March, and on that morning I see the first sign of that after which the baby wolves are in search. It is clear weather, and cold. The sun stay longer in the sky, and there are sun-dogs flashing on either side, and the air is bright with frost-dust. The snow falls no more upon the trail, and I see the fresh sign of dogs and sled. There is one man with that outfit, and I see in the snow that he is not strong. He, too, has not enough to eat. The young wolves see the fresh sign, too, and they are much excited. 'Hurry!' they say. All the time they say: 'Hurry! Faster, Charley, faster!'
     "We make hurry very slow. All the time the man and the woman fall down. When they try to ride on sled, the dogs are too weak, and the dogs fall down. Besides, it is so cold that if they ride on the sled they will freeze. It is very easy for a hungry man to freeze. When the woman fall down, the man help her up. Sometimes the woman help the man up. By and by both fall down and cannot get up, and I must help them up all the time, else they will not get up and will die there in the snow. This is very hard work, for I am greatly weary, and as well I must drive the dogs, and the man and woman are very heavy, with no strength in their bodies. So, by and by, I, too, fall down in the snow, and there is no one to help me up. I must get up by myself. And always do I get up by myself, and help them up, and make the dogs go on.
     "That night I get one ptarmigan, and we are very hungry. And that night the man says to me, 'What time start to-morrow, Charley?' It is the voice of a ghost. I say, 'All the time you make start at five o'clock.' 'To-morrow,' he says, 'we will start at three o'clock.'
     "And we start at three o'clock. It is clear and cold, and there is no wind. When daylight comes we can see a long way off. And it is very quiet. We can hear no sound but the beat of our hearts, and in the silence that is a very loud sound. We are like sleep-walkers, and we walk in dreams until we fall down; and then we know we must get up, and we see the trail once more and hear the beating of our hearts.
     "In the morning we come upon the last-night camp of the man who is before us. It is a poor camp, the kind a man makes who is hungry and without strength. On the snow there are pieces of blanket and of canvas, and I know what has happened. His dogs have eaten their harness, and he has made new harness out of his blankets. The man and woman stare hard at what is to be seen. Their eyes are toil-mad and hunger-mad, and burn like fire deep in their heads. Their faces are like the faces of people who have died of hunger, and their cheeks are black with the dead flesh of many freezings. We come to where we can see a long way over the snow, and that for which they look is before them. A mile away there are black spots upon the snow. The black spots move. My eyes are dim, and I must stiffen my soul to see. And I see one man with dogs and a sled. The baby wolves see, too. They can no longer talk, but they whisper: 'On, on! Let us hurry!'
     "And they fall down, but they go on. The man who is before us, his blanket harness breaks often and he must stop and mend it. Our harness is good, for I have hung it in the trees each night. At eleven o'clock the man is half a mile away. He is very weak. We see him fall down many times in the snow.
     "Now we are three hundred yards away. We go very slow. Maybe in two, three hours we go one mile. We do not walk. All the time we fall down. We stand up and stagger two steps, maybe three steps, then we fall down again. And all the time I must help up the man and woman. Sometimes they rise to their knees and fall forward, maybe four our five times before they can get to their feet again, and stagger two or three steps and fall. But always do they fall forward. Standing or kneeling, always do they fall forward, gaining on the trail each time by the length of their bodies.
     "Sometimes they crawl on hands and knees like animals that live in the forest. We go like snails—like snails that are dying we go so slow. And yet we go faster than the man who is before us. For he, too, falls all the time, and there is no Sitka Charley to lift him up. Now he is two hundred yards away. After a long time he is one hundred yards away.
     "It is a funny sight. I want to laugh out loud, Ha! ha! just like that, it is so funny. It is a race of dead men and dead dogs. It is like in a dream when you have a nightmare and run away very fast for your life and go very slow. The man who is with me is mad. The woman is mad. I am mad. All the world is mad. And I want to laugh, it is so funny.
     "The stranger man who is before us leaves his dogs behind and goes on alone across the snow. After a long time we come to the dogs. They lie helpless in the snow, their harness of blanket and canvas on them, the sled behind them, and as we pass them they whine to us and cry like babies that are hungry.
     "Then we, too, leave our dogs and go on alone across the snow. The man and the woman are nearly gone, and they moan and groan and sob, but they go on. I, too, go on. I have but the one thought. It is to come up to the stranger man. Then it is that I shall rest, and not until then shall I rest, and it seems that I must lie down and sleep for a thousand years, I am so tired.
     "The stranger man is fifty yards away, all alone in the white snow. He falls and crawls, staggers, and falls and crawls again. By and by he crawls on hands and knees. He no longer stands up. And the man and woman no longer stand up. They, too, crawl after him on hands and knees. But I stand up. Sometimes I fall, but always do I stand up again.
     "On either side the sun are sun-dogs, so that there are three suns in the sky.
     "After a long time the stranger man crawls no more. He stands slowly upon his feet and rocks back and forth. Also does he take off one mitten and wait with revolver in his hand, rocking back and forth as he waits. His face is skin and bones, and frozen black. It is a hungry face. The eyes are deep-sunk in his head, and his lips are snarling. The man and woman, too, get upon their feet, and they go toward him very slowly. And all about is the snow and the silence. And in the sky are three suns, and all the air is flashing with the dust of diamonds.
     "And thus it was that I, Sitka Charley, saw the baby wolves make their kill. No word is spoken. Only does the stranger man snarl with his hungry face. Also does he rock to and fro, his shoulders drooping, his knees bent, and his legs wide apart so that he does not fall down. The man and the woman stop maybe fifty feet away. Their legs, too, are wide apart so that they do not fall down, and their bodies rock to and fro. The stranger man is very weak. His arm shakes, so that when he shoots at the man his bullet strikes in the snow. The man cannot take off his mitten. The stranger man shoots at him again, and this time his bullet goes by in the air. Then the man takes the mitten in his teeth and pulls it off. But his hand is frozen and he cannot hold the revolver, and it falls in the snow. I look at the woman. Her mitten is off, and the revolver is in her hand. Three times she shoot, quick, just like that. The hungry face of the stranger man is still snarling as he falls forward in the snow.
     "They did not look at the dead man. 'Let us go on,' they said. And we went on. But now that they have found that for which they look, they are like dead. The last strength has gone out of them. They can stand no more upon their feet. They will not crawl, but desire only to close their eyes and sleep. I see not far away a place for camp. I kick them. I have my dog-whip, and I give them the lash of it. They cry aloud, but they must crawl. And they do crawl to the place for camp. I build fire so that they will not freeze. Then I go back for sled. Also, I kill the dogs of the stranger man so that we may have food and not die. I put the man and woman in blankets and they sleep. Sometimes I wake them up and give them little bit of food. They are not awake, but they take the food. The woman sleep one day and a half. Then she wake up and go to sleep again. The man sleep two days and wake up and go to sleep again. After that we go down to the coast at St. Michaels. And when the ice goes out of Bering Sea the man and woman go away on a steamship. But first they pay my seven hundred and fifty dollars a month."
     "But why did they kill the man?" I asked.
     Sitka Charley delayed reply until he had lighted his pipe. He glanced at the illustration on the wall and nodded his head at it familiarly. Then he said, speaking slowly and ponderingly:
     "I have thought much. I do not know. It is something that happened. It is a picture I remember. It is like looking in at the window and seeing the man writing a letter. They came into my life and they went out of my life, and the picture is, as I have said, without beginning, the end without understanding."
     "You have painted many pictures in the telling," I said.
     "Ay,"—he nodded his head. "But they were without beginning and without end."
     "The last picture of all had an end," I said.
     "Ay," he answered. "But what end?"
     "It was a piece of life," I said.
     "Ay," he answered. "It was a piece of life."

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