The space behind the sealed door was small—perhaps eight feet by ten feet, carved out of what should have been the back corner of the barn’s main floor. Sunlight streamed through the opened door, illuminating what had been darkness for twenty years.
The room was empty of people but full of evidence that people had been there.
Against one wall sat three pallets made of straw and old blankets, now rotted and moth-eaten. A child’s wooden toy horse lay on its side, dust-covered. An oil lamp sat on a rough wooden shelf, its glass chimney blackened from use. A water bucket, long dry, stood in the corner. And most tellingly, several quilts were spread across the pallets—quilts that several women immediately recognized as Ruth Miller’s work.
“I made a quilt with Ruth that had this pattern,” Esther Troyer says, touching one of the deteriorated fabrics with shaking hands. “That’s her stitching. That’s her work. She was here.”
