The Land of Little Rain is a collection of short stories and essays detailing the landscape and inhabitants of the American Southwest. A message of environmental conservation and a philosophy of cultural and sociopolitical regionalism[3] loosely links the stories together.
- "The Land of Little Rain"
The opening essay describes the "Country of Lost Borders," an area of land between Death Valley and the High Sierras. The image created of the land at the beginning of the story is one of almost unbearable heat and dryness, punctuated by violent storms. Despite the description of how inhospitable the landscape is, at the end Austin proposes that the costs the land imposes upon a man are worth it because it provides man with peace of mind and body that cannot be achieved any other way.
- "Water Trails of the Ceriso"
The section's title refers to the trails made by wild animals moving towards sources of water across the landscape of an area known as the Ceriso. The Ceriso is not defined in the text, but in "The Last Antelope," Austin says that it "rises steeply from the tilted mesa overlooked by Black Mountain, darkly red as the red cattle that graze among the honey colored hills," and that it is "not properly mesa nor valley, but a long healed crater miles wide, rimmed about with the jagged edge of the old cone."[4] The essay provides descriptions of the many animals that travel along the trails, including coyotes, rabbits, and quails. Their ability to find water where there seems to be none is extolled by Austin, a skill which she believes no human is able to match.
- "The Scavengers"
This essay describes the various animals that live in the desert that feed upon carrion—most notably, the buzzards and the carrion crows. This scavenging is portrayed as a natural part of the desert, with a multitude of the scavengers working together to find food. The end of the story criticizes the actions of man with regard to the desert. The unnatural trash he leaves cannot be used by the scavengers in the story, and as such serves as a stark contrast to the desert's natural processes for recycling waste.
- "The Pocket Hunter"
A pocket hunter is a type of miner who hunts for pockets of ore deposits. In the story, the pocket hunter described by Mary Austin lives off of the land with minimal interactions with the civilized world. This harmony with nature, Austin argues, is essential to the pocket hunter's simple happiness. Despite Austin's muted praise, the pocket hunter wants to strike it rich in order to move to Europe and mingle with the landed elite, a goal he accomplishes. However, by the end of the story, the pocket hunter returns to the desert since it is his "destiny".
- "Shoshone Land"
"Shoshone Land" narrates the experiences of Winnenap', an American Indian medicine man originally from Shoshone Land who was captured by the Paiute tribe. The story initially revolves around Winnenap', but quickly changes to a detailed description of the environment and wildlife of Shoshone Land to form an intimate tie between Winnenap' and the land he formerly inhabited.
- "Jimville—a Bret Harte Town"
In the beginning of the section, Jimville is touted as a better source of inspiration for Bret Harte than he found during his own travels. Jimville's inhabitants are likened to the fictional characters that were present in some of Harte's short stories. Austin portrays Jimville as a small town set in a harsh environment and inhabited by simple yet endearing toughs. Although the inhabitants endure many hardships, Austin claims that there is an almost unexplainable pull which keeps them in town and encourages new travelers to stay.
- "My Neighbor's Field"
The story is about a plot of land which changes hands many times—Austin characterizes this plot of land as an ideal field. She criticizes the owners of the field, the Indians and shepherds, because their habits and lifestyle scar the land. At the end of the episode, it is revealed that the field is destined to develop into an urban area. Austin claims that while the field may at that point serve a greater human use, it will not be better for the land and all life.
- "The Mesa Trail"
This section describes one of the trails that runs through the American Southwest. It contains several passages detailing the damage human activity has done to the land. She criticizes the "unsightly scars" left by the Paiute Indians in the form of abandoned campoodies and the damaged plant life left by domesticated animals such as sheep.
- "The Basket Maker"
This story follows the life of Seyavi, a Paiute Indian who loses her mate, lives alone with her child, and sells baskets she weaves in order to survive. Austin claims that the Paiutes make the land itself their home, with the natural ridges of mountains as walls and the wild almond bloom as their furnishings. It is because of this that Austin argues that the Paiutes will always be homesick when in homes built by man, as man cannot replicate nature's walls and furnishings.
- "The Streets of the Mountains"
This essay consists of long description of mountains and their respective trails. The section characterizes the beauty of the mountains and their inhabitants. The story also contains critiques people who dwell in man-made houses. The comfort provided by such houses, Austin argues, results in people not being able to truly understand the beauty and divinity of the mountains.
- "Water Borders"
The essay revolves around the streams and lakes that can be found in the mountains, generally formed from the melting snow higher in the mountains. The particular mountain in the story is Oppapago, a mountain within the Sierras in a forest reserve. Austin contrasts the mountain landscape to a meadow outside a forest reserve, which lacks color and beauty because it is damaged by the grazing of sheep.
- "Other Water Borders"
"Other Water Borders" is centered more on the plants affected by the water from the mountains, both wild and cultivated. The story begins with a depiction of a squabble between several locals over an irrigation ditch filled by water from the mountains. This is followed by a series of descriptions of the variety of plants that the irrigation ditch allows to thrive. Found within these depictions of plant life is Austin's lament of the complexities of civilization. Austin implies that with the advent of cities and manufactured objects people have lost an innate ability to know what natural remedies may be beneficial or detrimental to one's health.
- "Nurslings of the Sky"
The "nurslings of the sky" are storms, formed in the hills and given almost human characteristics by Austin. The beginning of the story contains an account of the destruction of a town by floods and snow. The blame for the events is not placed on nature, but rather the people whose poorly placed town was destroyed. The story continues with descriptions of storms and their effects upon the wildlife of the area, pausing to explain how the land teaches people things. The story uses the example of a group of Native Americans who learn the use of smoke signals by observing the dust pillars formed by desert winds at the edges of mesas. The end of the story expresses Austin's discontent at how people have dealt with the weather by determining the best seasons to plant crops rather than by musing about the "eternal meanings of the skies".
- "The Little Town of the Grape Vines"
"The Little Town of Grape Vines," or El Pueblo de Las Uvas, tells a story of a simple people living in peace with their environment. With houses made of mud, homemade wine, and gardens to provide the fruits, vegetables, and herbs, the townspeople live a simple life without the complex notions of wealth and class that Austin feels have corrupted much of society. Austin describes the lives of the people living in the town, lives which consist of little more than planting, harvesting, eating, making music, raising children, and dancing. The end of the story is a call back to the simple life exemplified in "The Little Town of the Grape Vines," criticizing those people who are overly obsessed with their own perceived importance in a world where their actions truly matter little.
