San Francisco Boy

by Lois Lenski

  Suddenly Mei Gwen exclaimed, “I hear Chinese Lion music!” She put her arm around Dina. “Goody! Goody! The Lion is coming down our street, just so you can see him.”

  “We must hurry,” said Father. “Get the firecrackers.”

  Felix found a long string, and to the end Father attached lettuce leaves and a tangerine. Coins wrapped in Chinese-red paper were tied under the lettuce leaves, hidden from view. Mei Gwen opened the large window in the bay of the front room, and the boys let the string drop down. It reached to the top of old Mr. Wong’s windows on the first floor. The Lion, followed by a noisy crowd and the Lion truck with music, came closer and closer. Felix and Frankie brought out their unused firecrackers, lighted and threw them down. This was to attract the Lion’s attention and also to frighten evil spirits away.

  The Lion was held up by two young Chinese acrobats. One man held up the head, worked its jaws and reached his hand out through the mouth to take contributions of money. He and his companion, who held up the Lion’s tail, danced along the street to the beat of drums, imitating the actions of a real lion.

  What fun it was to look down and watch the Lion’s antics. He sniffed the air from door to door, shaking his great mane, pretending to took for lettuce leaves. Seeing the decorated string hanging from the Fongs’ bay window, he halted, then rushed toward it as the boys’ firecrackers burst around his head. Smoke poured out of his nostrils, the Lion music burst forth again, as the great beast swayed and plunged back and forth, circling around the tempting lettuce bait. Suddenly he drew near, leaped upward and snapped his jaws shut over the lettuce leaf and tangerine. The string snapped, he pranced his thanks, then danced onward to the next inviting doorway.

  Frankie and Freddie tumbled back on the floor, roaring with laughter. Georgie pulled the string up and rolled it into a ball.

  Joey Costelli cried out, “I’m going to be a Chinese acrobat when I grow up!” This started all the boys doing acrobatic stunts in true Chinese style.

  Dina said, “Why don’t the Italians have an Italian Lion to dance like that?”

  Mei Gwen heard someone crying. Looking around, she found that little Susie had hidden under the bed, frightened. She pulled her out, and Susie helped her pass tangerines and sweetmeats to their guests.

  “Felix, when are you going to show us Chinatown?” asked Georgie and Joey.

  “Any time you like,” said Felix. “What do you want to see?”

  “Well—what is there to see?” asked Georgie. “What do you like best yourself?”

  The question was a challenge. Felix had to stop and think. Had the time come when he could say that he really liked Chinatown, that he was at home there and loved the big city of San Francisco? What should he tell them?

  About the fun of collecting rocks on Russian Hill? About the rollicking rides on the cable cars? About climbing Telegraph Hill for a picnic and seeing the breath-taking view from there? About the playground on Sacramento Street where he had at last made friends with the boys? About the steep Clay Street hill where he met disaster on a borrowed scooter?

  Or should he tell them about the kindly shopkeepers and office people and friends along the crowded streets that Roger and Mei Gwen had helped him to know and understand? About that little island of green, Portsmouth Square, where a boy could fly a Chinese kite higher than the trees? Or about the joys of fishing at Fisherman’s Wharf which they themselves knew better than he? Should he tell them about the warmth and comfort and good food and understanding in a Chinese home, no different, he was sure, from that in any Italian or any other American home.

  Felix hardly knew what he liked best, but one thing was certain. His interests and his loves had spread far beyond the limits of Chinatown. Taken together, in all its many aspects, San Francisco had suddenly become, as Grandmother Yee had predicted, “his homeland.” He felt happy and contented now, able to meet whatever came, looking forward eagerly to what the future might bring. He had the heritage of age-old customs and traditions behind him, and the exciting ways of a newer world before him. The combination was a good one.

  Chinese New Year was what Grandmother had said—a day of New Beginnings. One thing he knew as he had never known before—the old, restless, gnawing homesickness was gone, and the memory of a happy childhood remained.

  “Let’s go up to the roof and I’ll show you!” said Felix, suddenly inspired.

  He and Mei Gwen and Georgie and Joey and Dina climbed the little stairs just as the sun was setting. Lester Yang was there and let them look through his telescope. Now Felix knew, and he pointed out to his friends what he liked best of all—the bay with its boats and fish and bridges, its blue waters and white clouds and gray fogs, and across on the other side, the beloved Alameda of his lost childhood, still alive in his memory.

  A Biography of Lois Lenski

  Lois Lenski was born in Springfield, Ohio, on October 14, 1893. The fourth of five children of a Lutheran minister and a schoolteacher, she was raised in the rural town of Anna, Ohio, west of Springfield, where her father was the pastor. Many of the children’s books she wrote and illustrated take place in small, closely knit communities all over the country that are similar to Lenski’s hometown.

  After graduating from high school in 1911, Lenski moved with her family to Columbus, where her father joined the faculty at Capital University. Because Capital did not yet allow women to enroll, she attended college at Ohio State University. Lenski took courses in education, planning to become a teacher like her mother, but also studied art, and was especially interested in drawing. In 1915, with a bachelor’s degree and a teaching certificate, she decided to pursue a career in art, and moved to New York City to take classes at the Art Students League of New York.

  In an illustration class at the League, Lenski met a muralist named Arthur Covey. She assisted him in painting several murals, and also supported herself by taking on parttime jobs drawing fashion advertisements and lettering greeting cards. In October 1920, she left New York to continue her studies in Italy and London, where the publisher John Lane hired her to illustrate children’s books. When she returned to New York in 1921, she married Covey and became stepmother to his two children, Margaret and Laird.

  Early in her career, Lenski dedicated herself to book illustration. When a publisher suggested that she try writing her own stories, she drew upon the happy memories of her childhood. Her first authored book, Skipping Village (1927), is set in a town that closely resembles Anna at the start of the twentieth century. A Little Girl of 1900 (1928) soon followed, also clearly based on Lenski’s early life in rural Ohio.

  In 1929, Lenski’s son, Stephen, was born, and the family moved to a farmhouse called Greenacres in Harwinton, Connecticut, which they would call home for the next three decades. Lenski continued to illustrate other authors’ books, including the original version of The Little Engine That Could (1930) by Watty Piper, and the popular Betsy-Tacy series (1940–55) by Maud Hart Lovelace. Lenski also wrote the Mr. Small series (1934–62), ten books based on Stephen’s antics as a toddler.

  The house at Greenacres had been built in 1790 and it became another source of inspiration, as Lenski liked to imagine the everyday lives of the people who had previously lived in her home. In Phebe Fairchild, Her Book (1936), for instance, a young girl is sent to live with her father’s family on their farm in northwestern Connecticut in 1830‚ when Greenacres would have been forty years old. For its rich and detailed depiction of family life in rural New England, the book was awarded the Newbery Honor.

  Other historical novels followed—including A-Going to the Westward (1937), set in central Ohio; Bound Girl of Cobble Hill (1938); Ocean-Born Mary (1939); Blueberry Corners (1940); and Puritan Adventure (1944)—all set in New England; and Indian Captive (1941), a carefully researched retelling of the true story of Mary Jemison, a Pennsylvania girl captured by a raiding Native American tribe, for which Lenski won a second Newbery Honor.

  By 1941, Lenski’s stepdaughter, Margaret, had marr
ied and started her own family, and Margaret’s son, David, spent a great deal of time with his grandparents at the farm. Lenski’s Davy series of seven picture books (1941–61) was largely based on David’s visits to Connecticut as a child.

  During this period, Lenski experienced bouts of illness, brought on by the harsh Connecticut winters. The family began to spend winters in Florida, where she “saw the real America for the first time,” as she wrote in her autobiography. Noting how few books described the daily life of children in different parts of the country, she began writing the Regional America series, starting with Bayou Suzette (1943). The seventeen books in this series depict children’s lives in every region of the United States, from New England to the Pacific Northwest, in rural and urban settings. Lenski traveled to each region that she would later feature in her books, spending three to six weeks in each locale. She collected stories from children and adults in each area, documenting their dialect, learning about their way of life, and otherwise getting to know the people that would become the characters in her books. The second book in the series, Strawberry Girl, won the Newbery Medal in 1946. The Roundabout America series (1952–66), intended for younger readers, was based on the same theme of daily life all over the country. Lenski was unparalleled in the diversity of American lifestyles that she documented; the combination of research, interviews, and drawings that she utilized; and the empathy and honesty that she employed in recording people’s lives.

  Other popular series for children followed, including four books about the seasons—Spring Is Here (1945), Now It’s Fall (1948), I Like Winter (1950), and On a Summer Day (1953)—and the seven Debbie books (1967–71), based on Lenski’s experiences with her granddaughter. Lenski also published several volumes of songs and poetry, mostly for children.

  In early 1960, Lenski’s husband died, and she soon sold the farm in Connecticut to live in Florida year round. There she wrote her autobiography, Journey Into Childhood (1972). Lenski died on September 11, 1974, at her home in Florida. The Lois Lenski Covey Foundation, which she established to promote literacy and reading among at-risk children, continues her mission by providing grants to school and public libraries each year.

  Lenski in 1897, at age four, when she lived in Springfield, Ohio. She was born there on October 14, 1893.

  Lenski photographed at age seven or eight, when the family lived in Anna, Ohio. The family lived in Anna for twelve years. It was there that Lenski developed her love of country life and began drawing and painting.

  Lenski with her family in Anna, Ohio. From left to right: sister Esther; brothers, Oscar and Gerhard; father, Richard; Lois; mother, Marietta; and in front, sister Mariam.

  Lenski’s high school graduation photo, taken in 1911. Her English teacher predicted that some day she would “do some form of creative work.”

  Lenski in her studio in Pelham Manor, New York, around 1925. She lived there with her husband, Arthur; stepchildren, Margaret and Laird; and later, her son, Stephen.

  Lenski with Stephen, age three, in 1932.

  Lenski with Stephen and Arthur in 1946, just after she had won the Newbery Award for Strawberry Girl. With them is their pet goat, Missy.

  Eventually, Lenski’s declining health led her to move to a warmer climate. In this 1960s photo, she is in her studio in Tarpon Springs, Florida.

  All rights reserved, including without limitation the right to reproduce this ebook or any portion thereof in any form or by any means, whether electronic or mechanical, now known or hereinafter invented, without the express written permission of the publisher.

  This is a work of fiction. Names, characters, places, events, and incidents either are the product of the author’s imagination or are used fictitiously. Any resemblance to actual persons, living or dead, businesses, companies, events, or locales is entirely coincidental.

  Copyright © 1955 by Lois Lenski

  Cover design by Andrea Worthington

  ISBN: 978-1-5040-2199-9

  This edition published in 2015 by Open Road Integrated Media, Inc.

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