Wasn't her whole life like that hunting-coat?

She knew every nick and brown spot on each piece of the set of china
purchased by Kennicott's mother in 1895--discreet china with a pattern
of washed-out forget-me-nots, rimmed with blurred gold: the gravy-boat,
in a saucer which did not match, the solemn and evangelical covered
vegetable-dishes, the two platters.

Twenty times had Kennicott sighed over the fact that Bea had broken the
other platter--the medium-sized one.

The kitchen.

Damp black iron sink, damp whitey-yellow drain-board with shreds of
discolored wood which from long scrubbing were as soft as cotton thread,
warped table, alarm clock, stove bravely blackened by Oscarina but an
abomination in its loose doors and broken drafts and oven that never
would keep an even heat.

Carol had done her best by the kitchen: painted it white, put up
curtains, replaced a six-year-old calendar by a color print. She had
hoped for tiling, and a kerosene range for summer cooking, but Kennicott
always postponed these expenses.

She was better acquainted with the utensils in the kitchen than with
Vida Sherwin or Guy Pollock. The can-opener, whose soft gray metal
handle was twisted from some ancient effort to pry open a window,
was more pertinent to her than all the cathedrals in Europe; and
more significant than the future of Asia was the never-settled weekly
question as to whether the small kitchen knife with the unpainted handle