FRIENDS OF CHILDHOOD
chin, a large, mobile mouth, a high nose, are not uncommon in Spain. Mrs. Tellamantez could not write her name, and could read but little. Her strong nature lived upon itself. She was chiefly known in Moonstone for her forbear ance with her incorrigible husband.
Nobody knew exactly what was the matter with Johnny, and everybody liked him. His popularity would have been unusual for a white man, for a Mexican it was unprecedented. His talents were his undoing. He had a high, uncertain tenor voice, and he played the mandolin with exceptional skill. Periodically he went crazy. There was no other way to explain his behavior. He was a clever workman, and, when he worked, as regular and faithful as a burro. Then some night he would fall in with a crowd at the saloon and begin to sing. He would go on until he had no voice left, until he wheezed and rasped. Then he would play his mandolin furiously, and drink until his eyes sank back into his head. At last, when he was put out of the saloon at closing time, and could get nobody to listen to him, he would run away—along the railroad track, straight across the desert. He always managed to get aboard a freight somewhere. Once beyond Denver, he played his way southward from saloon to saloon until he got across the border. He never wrote to his wife; but she would soon begin to get newspapers from La Junta, Albuquerque, Chihuahua, with marked paragraphs announcing that Juan Tellamantez and his wonderful mandolin could be heard at the Jack Rabbit Grill, or the Pearl of Cadiz Saloon. Mrs. Tellamantez waited and wept and combed her hair. When he was completely wrung out and burned up,—all but destroyed,—her Juan always came back to her to be taken care of,—once with an ugly knife wound in the neck, once with a finger missing from his right hand,—but he played just as well with three fingers as he had with four.
Public sentiment was lenient toward Johnny, but every-
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