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Contents
Preface xvii
1 • Introduction 7
2 • Design 13
Exercises 393
Projects 394
Epilogue 457
Epilogue Capstone Project 461
Index 471
Preface
Alice is an educational software tool intended for teaching and learning fundamental con-
cepts of computer programming with animation, storytelling, and gaming as the context.
This book, and the Alice 3 software, builds on and extends the innovative approach intro-
duced with Alice 2 and the Learning to Program with Alice textbook (written by Dann, Coo-
per and Pausch and first published in 2004). Formal studies have proven the effectiveness
of this approach in attracting a diverse population, as well as increasing the retention rate
of students in introductory levels in both high school and early college courses. This suc-
cess and the highly positive feedback from hundreds of thousands of instructors and stu-
dents inspired the Alice team at Carnegie Mellon University to continue Alice system
development and provide strong support for instructors.
Teaching Approach
Creative Problem Solving
A creative problem-solving approach is used throughout the book. Each chapter begins
with a new problem, which is basically: “Design and create a program that animates the
story of (or simulates, or plays the game of) ....” Our problem-solving approach is an adap-
tation of a well-known approach developed by George Polya and published in his book,
How to Solve It. A quick summary of Polya’s problem-solving approach is
xvii
xviii Preface
animations inspired by the works of professional animation and gaming studios such as
Disney, Pixar, DreamWorks, Electronic Arts, and others. In addition to their visual appeal,
Alice’s Gallery classes provide features to jumpstart student animation programming,
including built-in animation methods. For example, the bird class includes pre-made meth-
ods for unfolding and folding a bird’s wings. These built-in animation methods provide for
rapid production of student story animations. And although these pre-made animations
make it easy for students to get started, they are merely an inspirational beginning. Alice
provides a powerful, intuitive interface for students to create their own customized methods
and animations from the programmatically simple to the complex. Students can even create
their own custom classes complete with inheritance features. Alice’s emphasis on visualiz-
ing classes of characters and props eases students into object-oriented thinking.
Audience
We understand that instructors will use this text to implement and support curriculum
and objectives that meet the needs and requirements of students in their own specific
educational institutions. In other words, we expect instructors will use the textbook in
Preface xix
many different ways. Nonetheless, the following provides a short description of the
target population and courses we taught, and others we envisioned, as this book was
written.
In a semester-long course for introductory programming for non-majors, with an
interdisciplinary focus: The programming examples presented in this text have a story-
telling and animation context that is well suited to courses with an interdisciplinary
focus. Preliminary testing with non-majors in liberal arts schools and in curricula for
media arts, gaming, communications, and other programs of study has been highly
successful.
In a semester-long introductory programming course for majors who have little or
no programming experience: In many colleges, thirty to fifty percent of incoming majors
have experience in personal productivity with computers, but not in programming. Students
with little or no previous programming experience are at a disadvantage in a rigorous CS101
course and are at risk of dropping out or changing their major. Alice has been shown to
significantly increase retention and achievement of these students.
As a primary component in the AP Computer Science Principles course: This
book encompasses the span of computational thinking practices: connecting computing,
creating computational artifacts, abstracting, analyzing problems and artifacts, communi-
cating, and collaborating. The animation problem-solving context exemplifies most of the
big ideas in the CS Principles curriculum, including creativity, abstraction, algorithms, and
programming.
As a preparatory course prior to an AP Computer Science (Java) course: Alice 3
can be displayed in Java mode. This allows students to create program code in a gentle drag-
and-drop programming environment where typing code with the details of syntax is not
the major focus. This approach was used in Seymour Papert’s Logo and Rich Pattis’s Karel
the Robot, which were inspirations for the Alice project.
Note: Over time, exercises and projects become more free-form and open ended. For this
reason, the number of exercises and projects included in the chapters are numerous at the
beginning but decrease in the latter half of the book.
The following is a quick overview of the programming concepts introduced by chap-
ter. See the Table of Contents for a list of chapter titles and a more detailed description of
chapter content.
xx Preface
The first three or four chapters of the book are meant to be covered in quick suc-
cession, ideally in the first week of class meetings/lab. Remaining chapters vary in
length and may take two to five class meeting/lab days each. The pathway through
chapters, topic selection, and sequence can be modified at the instructor’s discretion to
meet specific needs and goals. The following dependency chart may assist in plotting a
path.
The chapters highlighted in yellow are Java chapters and those in white are Alice 3
chapters.
Preface xxi
Instructor Resources
The instructor resources are available to instructors who adopt this book by logging into
Pearson’s Instructor Resource Center at www.pearsonhighered.com/Dann. If you do not
already have access to the Pearson IRC, contact your Pearson sales representative or visit
www.pearsonhighered.com/educator/replocator.
Student Resources
Student support materials for this book are available at www.alice.org/Alice3ToJava.
Acknowledgments
Alice 3 lives in the heart and soul of the dedicated people in the Alice team. The primary
engineers and architects of the Alice 3 software were Dennis Cosgrove and Dave Culyba.
Dennis contributed to the original Alice and was the lead architect and software engineer
for Alice during the early days of Alice development with Randy Pausch.
Particular thanks go to Sabrina Haskell, professional game designer at Schell Games.
Sabrina contributed to the design thinking used throughout the textbook and specifically
to the game design and structure in the chapters where game examples are used.
A huge thanks to Eric Brown, who assumed the Director position of the Alice Project
upon retirement of Wanda Dann. Eric maintained team focus with the textbook authors to
insure completion of the necessary graphics, manuscript, and software revisions.
We are most grateful to Electronic Arts for their contribution of the Sims 2 artwork to
the Alice 3 Gallery. The 3D models from the Sims 2 artwork is the foundation of the gallery.
An incredible collection of 3D models has been added to Alice 3 to create cultural diversity.
These models were created by an Alice team of character artists and summer interns, under
the leadership and direction of Laura Paoletti. The original design of the 3D models was devel-
oped in consultation with John DeRiggi, Senior Character Artist at Schell Games. We owe
much gratitude to the contributions of Pei Hong, staff character artist, and summer interns
including: Austin Booker, Matthew Kline, Yuan (Dorothy) Sheng, and Gregory Mirles.
Our deep gratitude goes to early testers and users of Alice 3 and this textbook for
their helpful feedback, suggestions, and comments: Stephen Cooper at Stanford University,
William Taylor, Anita Wright, and RoseMary Boiano at Camden County College, Eileen
Wrigley and Don Smith at Allegheny Community College, Tebring Daly at Collin College,
Cristy Charters at Florida International University, and Leslie Spivey at Edison Commu-
nity College. Jeisson Hidalgo-Cespedes, in residence at Carnegie Mellon as a visiting scholar
from the University of Costa Rica, reviewed the first five chapters and prepared many
questions and examples used in these chapters.
Sincere thanks to Tracy Johnson of Pearson for supporting this effort. A huge thank
you to the editorial staff at Pearson who helped bring this textbook to life, particularly
Kristy Alaura, Carole Snyder, Rose Kernan, and Revathi Viswanathan. We gratefully
acknowledge the reviewers of this textbook Tim Gallagher—Winter Springs High School,
Teresa Elmore—Libertyville High School Saquib Razak—Carnegie Mellon University
Qatar, Anita Wright Camden County College, Leslie Spivey—Edison Community College,
Laine Agee—White Station High School, William Taylor—Camden County College.
Preface xxiii
This material is based upon work partially supported by the National Science Foun-
dation under Grant Numbers 0894104 and 0903271. Any opinions, findings, conclusions,
or recommendations expressed in this material are those of the authors and do not neces-
sarily reflect the views of the National Science Foundation.
We are most grateful for funding to support the development of Alice 3 with a transi-
tion to Java and faculty development workshops. Over the last decade, this funding has
been provided by: Oracle, the Sun Microsystems Foundation, Electronic Arts, Hyperion,
Google, the Payne Family Foundation, the Hearst Foundation, and the National Science
Foundation.
Wanda Dann
Don Slater
Laura Paoletti
Dave Culyba
Notes to the Student
This book is all about learning to write a computer program. Taking a programming course
can be challenging and time consuming. In fact, there are times when it can be downright
frustrating. As authors and educators, we want to stand up and say there is a better way to
learn real computer programming. This book is designed to introduce programming in a
creative context. We want to make it more engaging and less complicated, but still cover all
the essential concepts expected in an introductory programming course curriculum.
In this book, you will step into the world of creating 3D animations. Each chapter
presents the concepts of programming with hands-on examples that illustrate creating a
short animation or game for Lawrence Prenderghast’s Haunted Circus, an original story writ-
ten by Laura Paoletti. In the example animation and gaming projects, you will be bringing
the story to life by creating programs that illustrate portions of the and games presented in
the chapters and exercises. Alice was originally developed as a tool for creating prototype
animations for use with head-mounted devices in virtual reality research. Alice is similar
to professional software tools used by animators in animation and gaming studios (Pixar,
Disney, DreamWorks, Nickelodeon, Electronic Arts, and many others). In animation and
gaming studios, a project team is often composed of artists, animators, designers, and pro-
grammers who work together to create short animated segments that evolve and are com-
bined into the final product. Likewise, your instructor may ask you to work on a project
with a team.
Depending on your goals, you may also transfer your work from Alice to Java. Java is
a production-level programming language used by professionals to create real-world soft-
ware applications. For example, Alice itself is written in Java. The Java chapters in this
book provide examples that apply the concepts learned in Alice to write code in Java. This
experience is most helpful to students who plan to continue developing their programming
skills by taking an AP Computer Science or CS1 (or CS 101) college or university-level pro-
gramming course.
Supplementary materials for this textbook are at www.alice.org/Alice3ToJava.
xxv
1
Introduction
Concept Objectives
• Define program and programming • Analyzing a task statement
• A problem-solving approach • Background details
• Adapting a story narrative to a task • Objects and actions
statement
7
8 Chapter 1 | Introduction
Program task
Analyze the
task
Design a
Test
plan
Implement
the design
diagram that represents the steps in this problem-solving process. There is a clockwise pro-
gression from analyzing and understanding, to design, to implement, and then test. However,
lines also connect each step to each of the other steps because it is likely that the programmer
will repeat many of the steps again and again. In this way, the diagram represents a cyclic
process.
When the avalanche hits the train, Larry becomes encased in ice. He is still alive, but
unable to move, leaving him only to his thoughts. A hundred years pass, and a baby yeti
discovers an unusual ice block while out hunting. Tashi, the yeti, grows weary of the same
old barren snowfields around her cave home and daydreams about finding better food and
adventure elsewhere. To her surprise, as she gets closer Tashi sees a skeletal hand sticking
out of a crack in the ice. The hand wiggles, and she realizes something could be alive inside.
Tashi hops on her snowboard, pushes off, and crashes into the ice block. The block splits
neatly in two and reveals a full human skeleton. Larry screams in shock at discovering he’s
become a skeleton, but also in fear of Tashi. Until he sees she has his top hat. He figures
she must have stolen his hat from his train, so he chases after the thieving yeti, hoping to
find the remains of his circus troupe.
Adaptation of a written story for an animation requires a focus on the essential aspects
of plot and character development. One way to focus is to create a summary breakdown of
the plot that can be programmed as actions (instructions). Consider the limitations of com-
plexity and make any changes to the plot that might make it easier to program. For example,
in the original story Tashi bites the skeleton’s hand. But, in our summary, Tashi runs her
snowboard into the block of ice. This is to shorten and simplify the actions for a first pro-
gram example. Our summary breakdown is as follows:
On the last day of April the long preparations were finally completed.
The eight steamers lay along the Levee with flags floating from their
forward peaks and the black smoke pouring from their funnels. A
great crowd had gathered on the river bank to watch the departure;
and while drays and wagons rattled over the cobblestones and long
lines of negro roustabouts ran back and forth across the gang-planks
of the steamers, carrying on board the last packages of freight, Al
stood at the boiler deck rail of the Island City, General Sully's
headquarters boat. He waved his hand and smiled, more cheerfully
than he felt at that moment, to his mother and Annie and Uncle Will,
who stood in the wide doorway of the wharf-boat below, looking up
at him. Now that the final moment had come, Mrs. Briscoe's heart
was torn at parting with her boy, who had so loyally and unselfishly
devoted himself to her wellbeing since her husband's death. But she
bore it as bravely as a good mother always bears such trials, smiling
brightly at him through her tears as the head-lines were slipped from
the Island City's bow and her great stern wheel began slowly to
revolve. Al, his own eyes misty, watched his mother until in the
distance she became blurred with the crowd. The steamer swung
gracefully out into the swift current of the Mississippi, described a
wide, sweeping curve to the middle of the channel, and then,
rounding up stream at the head of the majestic line of her consorts,
forged up past the smoky city on the first mile of the long journey
into the Northwestern wilderness.
Until the cheering crowd on the Levee was quite blotted out by
distance and intervening steamers along the bank, Al stood at the
rail looking back. When at last he turned away, with a strange
feeling of depression and loneliness, he found Lieutenant Dale
standing behind him.
"Come, boy," said he, slapping Al's shoulder, "brace up! We are
going to have a great time this Summer, and you'll be mighty glad
you came. I know it's hard leaving your folks. I felt just the same
way less than three years ago when I marched off from home to
Washington and the first Bull Run. But it does no good to feel blue
over it; you'll come back again all right, anyway. Get busy; that's the
best remedy for blues. Are those last goods that were brought on
board checked up yet? No? Well, you better go down and check
them, hadn't you?"
Al acted on the suggestion, and by the time he was through, the
fleet had entered the mouth of the Missouri and was approaching St.
Charles, a picturesque little old city straggling up over the rugged,
wooded hills on the north bank of the Missouri. The boats did not
stop at the town, but continued running until nearly dark, when they
laid up for the night at Penn's Woodyard, four miles above.
Excepting in high water, when the channel is broad and deep, it is
very unusual for boats to run at night on the Missouri owing to the
danger of striking snags or going aground on sandbars. Next
morning, after replenishing their fuel supply at the woodyard, they
started at daylight and ran without mishap or halt, excepting to take
on wood several times, until dusk found them just below the mouth
of the Gasconade River, where they again tied up to wait for
daylight.
In the Spring of 1864 there had been little rain in the Missouri Valley,
and the river was very low for the season, a fact which greatly
disturbed General Sully; he foresaw that the trip would probably be
painfully slow and that he would not be able to reach the Indian
country until so late that the campaign would have to be a hurried
one. Early next morning, at the mouth of the Gasconade, they
encountered the first of the obstacles which they had been dreading.
As is usual below the mouths of tributaries, where the eddy created
by the muddy current of the main river coming in contact with that
of the tributary causes the mud and sand to sink to the bottom, a
sandbar here extended across the Missouri's channel. The Island
City, in the lead and running near the south shore along the base of
the bluffs, notwithstanding the caution of her pilot, stuck her bow
into it and stopped short. Al, who was in the main cabin, ran forward
as he felt the boat shiver and careen and looked down over the bow.
"Why, we've stuck fast!" he exclaimed to Captain Feilner, whom he
found standing by the rail. "What will they do now?"
"Send out a boat and sound for a passage," the Captain answered.
Even as he spoke, Alexander Lamont,—or, Alex Lamont, as he was
usually called,—the tall, bronzed captain of the Island City, leaned
out over the rail and shouted up to the hurricane deck above,
"Lower away the yawl, there! Step lively, now!"
They heard the shuffle of feet on the sanded tar roof overhead, the
creak of falls and tackles, and in a moment the boat, its long oars
manned by six stalwart deck hands and carrying, besides, a
steersman at the stern and a leadsman with a sounding pole at the
bow, pulled around the side of the steamer and out into the shoal
water ahead. Meanwhile, the long line of steamers behind them also
came to a stop.
"How much water must there be for us to get through?" asked Al.
"We are drawing three and a half feet," answered Captain Feilner,
"and we ought to have four feet to go on, but we can do it on three
and a half by sparring or warping. Have you never seen those things
done? Well, you will probably have a chance in a few minutes,—and
plenty more before we are through with this trip. Some of the other
steamers do not draw quite as much as we do but none of them
seem to be going to try to pass us."
The yawl gradually worked its way diagonally across and down the
river, following the crest of the bar, until it had approached quite
near to the north bank, the leadsman constantly thrusting his pole
down to the river bottom. Then the boat suddenly turned around
and came rapidly back to the Island City.
"There's three and a half, large, over there," said the pilot who had
acted as leadsman as he came aboard, speaking to Captain Lamont.
"We can go over but you'll likely have to set spars."
He ascended to the pilot-house and jerked the whistle rope. A
warning bellow roared out over the river, re-echoing from the forest-
clad bluffs on either side. One by one the steamboats behind them
took up the refrain, until the noise resembled that of a
manufacturing city at the noon hour.
"What on earth is all that whistling for?" asked Al. "Are they trying to
scare the bar out of the river?"
"No," laughed Captain Feilner. "That is a signal that we are going to
back up. There isn't room to turn in this channel and all the others
must back up, too, so that we won't run into each other."
The fleet backed for a half mile, then the Island City reversed her
wheel and started up again, running this time, however, close in by
the north shore. As she went ahead the strokes of her pistons
became more and more rapid until, as she approached the crossing,
she was going at a great speed for a steamboat.
"He's going to try to belt her through," exclaimed Lieutenant Dale,
coming up at this moment. "We'll get a jolt. I hope nothing breaks."
Hardly had he finished speaking when there came a loud grating
sound from the bow as the boat's flat bottom began to scrape over
the sand. Her timbers quivered and groaned, her speed diminished
so quickly that those who were standing on her decks were nearly
thrown down, and then, after scraping along for a few feet slowly
and painfully she came to a full stop. For a moment the stern wheel
continued to churn the water into white foam; then the pilot, with an
impatient gesture, jerked the wire to the stopping-bell down in the
engine room, and the ponderous wheel came to a halt.
"No use," he cried to Captain Lamont, leaning out of the pilot-house
window. "She's nearly over but you'll have to set the spars!"
There was a great shouting and commotion on the lower deck as the
spars, two long, heavy timbers like telegraph poles, one on each side
of the bow, were swung out and erected in position, their lower
extremities resting on the river bottom, the upper, fitted with tackle
blocks, rising high above the level of the boat's top deck. Through
the tackle blocks ran heavy cables fastened at one end to the boat's
gunwale and at the other to the steam capstan. When the spars had
been set, the capstan began to revolve, winding up the cable and
thus hoisting the bow of the boat until it hung suspended on the
spars. At the same time the wheel was slowly revolved, forcing the
boat ahead until the spars had tilted forward so far as to let the bow
down again into the sand. Then they were dragged forward and set
upright once more, and the process was repeated. Before a great
while the crest of the bar was passed, and the Island City floated on
into deeper water and continued her journey. But though it had not
been what river men would consider a hard crossing, she had lost
nearly six hours in sounding and sparring, and it was noon by the
time she had left the Gasconade out of sight behind her. The vessels
following her each forced its way across the bar in the same manner
as she had done, excepting the Chippewa Falls and the Alone, boats
of smaller dimensions and lighter draft, which were able to slip over
without sparring. By the time the last one had passed the
Gasconade, it was evening again, and the fleet was strung out for
miles up the river. The Island City anchored out for the night to a bar
just below Kate Howard Chute, so called for a beautiful packet of
that name which had sunk there in 1859. The point was only thirty
miles above the Gasconade, so that twenty-four hours had been
consumed in covering that insignificant distance. The Island City was
towing a large barge, intended for use when they should reach the
Indian country, but it was very much in the way and retarded her
progress considerably.
That evening Al asked Captain Lamont how far it was from St. Louis
to the mouth of Cannonball River, Dakota, where it was expected
that the actual campaign against the Indians would begin, and was
told that it was about fourteen hundred miles. He did some figuring
and found that if they continued to progress at the same rate as
they had done that day it would be more than six weeks, or past the
middle of June, before they would reach their destination. It seemed
an astonishingly long time to him but, as the event proved, he had
considerably overestimated the average speed which the fleet could
maintain. For days they continued travelling through the State of
Missouri, contending with sandbars and head winds. The interior of
the State was in a deplorable condition as a result of the war.
Guerillas were overrunning it everywhere, and the boats rarely
landed at a town without hearing either that some of the marauders
had just left on the approach of the fleet or that they had been
raiding there a day or two before. General Sully's vessels were so
numerous and well armed that the guerillas did not dare attack
them. All Missouri River boats at that time were more or less fortified
around the pilot-house with timber or boiler-iron bulwarks, to protect
the pilots from the bullets of guerillas on the lower river and from
those of Indians in the upper country, while the piles of cordwood on
the main deck afforded some protection to the men there. Yet the
fleet seldom passed a downward-bound boat which had not been
fired into or boarded, and fortunate was the vessel which had
escaped without the loss of one or more people on board killed or
wounded.
There were plenty of men in the expedition who would have been
glad to encourage such attacks had they been made, for, as was
always the case among the class of men who worked as laborers on
the steamboats, there were many hardened and even desperate
characters in the crews of Sully's vessels. Not a few of them were
deserters from the Confederate army, tired of fighting but still rebels
at heart; and others were Southern sympathizers, fleeing from the
draft in the Northern States. Most of these men hoped, when they
should draw near to Montana, to find opportunities for slipping away
from the expedition and making their way to the gold fields which
were just being opened in the placer deposits around Bannack, Last
Chance Gulch, Alder Gulch and other places, and which were
attracting a wild rush of adventurers from all over the country. Such
men were naturally hard to handle and it took steamboat officers of
firmness and courage to keep them in control.
Since the beginning of the voyage Al had not had much occasion to
mingle with the crew of the Island City. The cargo of the steamboat
consisted chiefly of corn for the use of the cavalry horses in the
Indian country and, once it was on board, required little attention.
He therefore seldom had any reason for going to the lower deck
except to while away the time, which, indeed, was the principal
occupation of the army officers on board. As might naturally be
supposed, he was usually with some of them. But one day he was
standing on the main deck near the boilers when one of the deck
hands, a young fellow a few years older than himself, came by
carrying a couple of heavy sticks of cordwood to the furnaces. Al had
once or twice in the past noticed this fellow staring at him in a
disagreeable way and felt instinctively that it must be because the
deck hand was envious of the apparently easy and pleasant time
which he was having. Al's back was turned toward him and neither
saw the other until one of the sticks collided heavily with Al's
shoulder, almost throwing him down. Al turned and though bruised,
was on the point of apologizing for being in the way, when the
fellow, an ugly, red flush overspreading his face, shouted, with a
plentiful sprinkling of oaths between his words,
"Get out of my road, you little Yankee snipe! What are you loafing
around here for, anyhow?"
"I'm sorry I got in your way," replied Al, controlling his temper, "but I
didn't see you."
"Well, you'd better stay upstairs with your blue-bellied Yankee
officers. They oughtn't to let their little pet run around this way."
Hearing loud words, several other deck hands gathered round,
grinning at the excitement, their sympathies evidently with their
companion.
"As for my being down here," Al answered, feeling that it would not
do to let such language pass unnoticed, especially before the other
men, "I have as much business here as you have. As for being a
Yankee, I suppose everybody on a United States ship is a Yankee. If
they're not, they'd better go ashore."
"It would take a mighty big lot of such spindle-legged doll babies as
you to put me ashore," shouted the young ruffian, flinging down his
wood and advancing on Al with clenched fists. "Down South we
don't use anything but boats we've kicked the Yankees off of."
Several of the other deck hands crowded closer, exclaiming,
"Aw, let the kid alone, Jimmy. He ain't done nothin' to you."
"Look out, Jimmy; you'll get in trouble, talkin' that way."
"So you're a rebel deserter, are you?" asked Al, his eyes flashing. "I
thought so. If you're so much attached to them, why didn't you stay
down there and take some more Yankee boats?"
The fellow, quite beside himself with rage, did not wait to reply but
sprang at Al like a bull-dog. Al knew little about boxing, but he was
quick. As his assailant rushed at him, he jumped forward and
planted one fist with all his strength on the point of the fellow's chin.
The rowdy's feet flew from under him and he fell to the deck with a
heavy thud, completely dazed for a moment. Then he scrambled to
his feet with a string of imprecations pouring from his lips, and
jerking an ugly, broad-bladed knife from a sheath on his belt, again
leaped at Al. Seeing his intention, his companions rushed forward to
stop him, but Al had snatched up a stoking iron from the floor beside
him and swung it back over his shoulder. His face was pale, but not
with fright, and as his assailant looked into his steady eyes
something in them caused him suddenly to lower his knife and
hesitate.
"Come one step nearer and I'll brain you," said Al, his voice very low
and quiet. "You miserable, cowardly bully, attacking a fellow who is
unarmed and who has done nothing to you. Now, if you want to stay
on this boat you've got to quit that kind of talk about Yankees or I'll
see that you are put off. It's very plain you are a rebel and you've no
business getting your living under the protection of the Union as
long as you feel that way. Next time you want to try anything with
me I shall be ready for you, and I warn you, you won't get off so
easily again."
He threw down the stoking iron and, turning his back on the crest-
fallen rowdy, deliberately walked away, followed by ejaculations from
the group of onlookers such as,
"Bully boy!" "Served him right." "You're all right, kid!"
Later in the day he mentioned the occurrence to Lieutenant Dale
and Captain Feilner, who promptly wished to have the deck hand put
ashore.
"Not on my account, unless he does some more secesh talking," said
Al. "I can take care of myself with him. Besides, it may be a good
lesson for him and teach him to be decent after this."
The fellow, as it turned out, had been pretty thoroughly beaten and
he made no more trouble for Al during the voyage, though he
always gave him an ugly look when they chanced to meet.
Lieutenant Dale decided from the incident that Al ought to learn the
art of boxing, in which he himself was quite expert, having learned it
in college. So thereafter they spent an hour or so every day in
sparring. By the time the voyage was over, Al had become as skilful
as his instructor, and General Sully, Captain Feilner and the other
officers often gathered to watch their bouts and to encourage them
to greater efforts.
At Glasgow, his old home, Al had an opportunity to go ashore for a
short time and he was astonished and grieved to note the changes
which three short years had wrought in the familiar old town. The
levee was deserted save by a few indolent loafers who, without
recognizing him, stared at him suspiciously as he went past; for in
that terror-haunted country, fear and suspicion of everybody and
everything had become the habit of the people. Climbing the hill to
the main part of town, he found grass growing in the once bustling
business streets and many buildings locked and vacant. His father's
old store was among them, closed as he had left it. He saw no
familiar faces; most of the men and boys he had known were off in
one of the armies, Confederate or Union, and the women were not
often venturing from their houses in such times. In the residence
section the scene was still worse. House after house stood deserted
and going to decay. With slow steps Al went on to the place which
had been the home of his family in the dear old days when they
were happy and prosperous. The gate was fallen from the hinges,
weeds were growing thickly over the gravel walks, several panes of
glass were broken out of the windows, and a loose shutter creaked
dolefully in the wind. He rested his hand on a weather-beaten fence
picket and gazed out into the garden he remembered so well, where
he and Tommy and Annie had played; and beyond that into the
orchard, where the summer apples used to grow so large and red
and juicy. The cords of his throat tightened and a mist swam before
his eyes. Weeds and grass and broken limbs strewed the ground;
silence and desolation were everywhere. He turned away abruptly
and hastened back to the levee, never stopping until he was once
more on the boiler deck of the Island City, where General Sully and
several other officers were smoking and playing cards. It seemed to
him as if a ghost were following him, the ghost of dead days, so
tenderly remembered that the thought of them was unendurable,
and for the time being he wanted only to plunge into the present
and forget.
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