Six days on the hurricane deck of a mule — Key Ideas to Explore

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In Category - Geography
Cole, Almira Stillwell Project Gutenberg 2008 Not confirmed
Honduras -- Description and travel Readers of public-domain and historical texts
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Edition facts

Words 12,535
Reading time 55 min
Text sections 2

The source record for Six days on the hurricane deck of a mule — Key Ideas to Explore measures this digital text at 12,535 words, 55 min estimated reading time, and 2 detected text sections.

The text analysis averages about 28.6 words per sentence, while the detected sections provide another way to judge how the source is divided.

Project Gutenberg metadata also associates the work with “Honduras -- Description and travel,” connecting these edition facts with the source record’s subject description.

Almira Stillwell Cole's 1891 mule-back journey through Honduras blends wry self-deprecation with sharp observation, contrasting her boarding-school decorum with the raw realities of tropical travel.
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Hardly had we settled ourselves under this shelter when a man rode up, apparently "the lord of the manor." He was about fifty years of age, whiter than the women, and was getting a horrible _goitre_, an affliction that one of the girls, his daughter, was also suffering from, and which seemed quite a common one in the vicinity.

A few words of explanation from the pretty cigarette-smoker, who, though not his wife, seemed to be the mistress of the household, apparently satisfied him, and he subsequently took our presence as a matter of course.

He seated himself in the chair by the table, his supper of black beans, meat, cheese, and _tortillas_ was brought and dispatched without the aid of either knife or fork, and then he turned his attention to our entertainment.

Notwithstanding the unwelcome sights and odors, we were becoming very hungry again, and as our men still abstained from putting in an appearance, we were more than glad to take the eggs, _tortillas_, and coffee given us. True it is that oftentimes during that six days, I ate and relished such food in places where, under ordinary circumstances, I would not have tasted a mouthful of the most tempting delicacies.

About dark one of the men came with three of the mules, but the other man had lost himself in trying to find us, and not until several hours later did he succeed in his quest.

Meanwhile I was secretly tormented by the painful anxiety to know where I was to sleep. One dark, ill-smelling room was all the house contained, except a shed used as a kitchen, and I could not see how the most ingenious hostess could make two guests of different sexes comfortable, however much she might incommode the family.

To my utter horror I learned that, with no conception of any possible scruples on my part, she had arranged for me to have one of the four beds, the women of the house the remaining three, while the master and Vincent were to occupy hammocks in the same room.

With stoical disregard of masculine observance, these native families disrobed themselves, skilfully it is true, though the process of necessity was a short one, and then, in company with their male companion, deliberately set themselves to watch my preparations for the night.

These last, you may be sure, were of the simplest kind. I took off my shoes and let down my hair, and then in my still wet dress, which was fortunately a flannel one, I crept into the bed the servant had made up with the clothes we carried with us.

Vincent's night toilet was still less elaborate.

He unbuckled the leather belt upon which hung his revolver, and brought it over to me with a brief injunction that I was to use it if need be. A startling suggestion truly, but the weapon gave me a sense of security, though it was such an enormous one that I knew with both hands on the trigger, both eyes tight shut, and mouth firmly set in the usual feminine way, I could never make the thing go off, in time to render me more than a _post-mortem_ defence.

As the burning pine sticks which had furnished light for us, slowly crumbled into ashes, I heard a wonder-struck voice ask if all the American ladies went to bed with their clothes on, to which Vincent, sharing my desire to do or say nothing that could hurt their feelings, gravely replied that it was the national custom.

Of course I did not sleep, tired as I was--I was more than half afraid to close my eyes, and when I finally did summon up sufficient courage to do so, there ensued a series of disturbances that successfully banished any further somnolent inclination for the night.

First our man, Eduardo, arrived, and all the animals about felt it their bounden duty to extend to him a welcome, whence began a simultaneous barking of dogs, mewing of cats, grunting of pigs, crowing of roosters, quacking of ducks, braying of mules, neighing of horses, and wagging of tongues, as I had never heard since in my childish days we had "lived on my father's farm in the green fields of barley."

When that commotion had subsided, our host sank into slumber so noisy that I lay there in momentary expectation of seeing the roof depart upon a celestial journey, and I am sure it was only saved from displacement by the rebellion of his throat causing a terrific fit of coughing. This over, he recounted a vivid, if stupid dream he had just had, and then once more came restful silence.

Almira Stillwell Cole opens her account of an 1891 mule-back journey through Honduras by comparing the ordeal to learning to ride a bicycle—a skill she “almost learned.” The comparison is not idle: it establishes a voice that is self-mocking, precise, and alert to the gap between expectation and experience. Cole, a former boarding-school inmate, frames her adventure as a collision between the “Spartan law of dignity” she was raised in and the unscripted demands of a foreign landscape. The title’s “hurricane deck of a mule” signals both the physical precariousness of her transport and the narrative’s wry tone. The excerpts reveal a writer who measures discomfort in olfactory and tactile detail—salt meat, thick darkness, a hammock under moonlight—and who treats her own fears with ironic detachment.

A Voice Between Irony and Earnestness

Cole’s prose oscillates between cultivated irony and genuine wonder. She reports friends’ dire predictions—ruined complexion, barbarians, fever—with comic restraint: “I bore it all as meekly as possible and with outward patience, but inward raging.” The bicycle analogy recurs as a private joke; a cousin warns that a mule is worse, and Cole later concedes he was “divinely gifted with the spirit of prophecy.” Yet the same voice can turn lyrical. Watching the moon rise over San Juan, she finds life “very beautiful and well worth living, in spite of all its hardships.” This tonal shift is not inconsistency but a deliberate strategy: the narrator uses self-deprecation to earn the right to earnestness. The reader is invited to trust a guide who admits her own limitations.

The Body in the Landscape

Cole’s physical experience is rendered through specific, often uncomfortable, sensory details. She notes the “suffocating and sickening” smell of salt meat drying in her lodging, and the “queer sort of noise” that wakes her in darkness “so thick that I could cut it.” She drenches a handkerchief with perfume to endure the stench. These moments ground the journey in bodily reality, countering any romantic notion of travel. At the same time, she registers beauty: the “wonderful rocks” near La Armenia, which she wishes she could photograph, and the moonlight that “bathed” objects “in a more charitable light.” The contrast between the sublime landscape and the gritty accommodations—a hammock in a dirty room—is a recurring pattern. Cole never lets the reader forget that wonder and discomfort coexist.

Social Performance and Cultural Encounter

Cole is acutely aware of how she is perceived. Trotting through La Armenia, she puts on “our very best style” because she does not want to be “unfavorably compared with an habitual mule-back performer.” Her guide Vincent, she later learns, was motivated by the presence of “one of the prettiest girls in all Honduras.” These asides reveal a social dimension to the journey: Cole is not only navigating terrain but also managing impressions. She notes the uniformity of Honduran houses and their interiors, which “vary greatly after all,” suggesting a careful eye for cultural detail. Yet she resists generalization, presenting each encounter as particular. The infant in its “birthday suit,” the mother who joins it, the hammock for Vincent—these details accumulate into a portrait of improvised domesticity on the road.

Readers should attend to the way Cole uses humor as a coping mechanism and a narrative device. Her self-awareness—admitting fear, discomfort, and vanity—makes her an unusually reliable observer. The excerpts offer only a partial view of the six-day journey, but they establish a pattern: each hardship is met with a wry remark, each moment of beauty with a deflationary return to the prosaic. Cole’s voice is the real subject, and the mule is its perfect foil.

There are mornings when I pull down Mrs. Cole’s mule-back account and think of her stiff, proper prose meeting all that Honduran mud. It reminds me of another traveler’s diary, Romantic Spain: A Record of Personal Experiences (Vol. I) — Background and Themes, where the author’s polished manners likewise brush against crumbling roads and louder landscapes. Both whisper the same quiet joke: decorum never survives a journey, but it makes lovely company for the telling.

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