The pair of slave-catchers, Loker and Marks, together with Haley, form the basis of one of Stowe's interesting sketches, this one not so much humorous as colorful, showing three more or less low-life characters in action around a punchbowl. This scene was quite a challenge to a lady writer in the Victorian 1850s, and yet the sketch holds up well. Loker is the ex-partner whom Haley has mentioned to Shelby as a "good-hearted fellow"; here he is described as a typical "western" character: crude, brutal, blustering, and not very bright. His new partner, Marks, is feline and rather dainty, and the trio is completed by Haley, who is generally good-natured, slick, acquisitive, and who here reveals a tendency to worry while in his cups about his chances of salvation.
Their conversation is ironic: They are shaking their heads sadly, unable to comprehend why "gals" get so all-fired attached to their young ones; it must be a female thing. Yet we recall Haley assuring Shelby that Eliza, like others of her race and sex, will soon get over the loss of little Harry if she is given a new dress or something else to distract her. The effect of the scene is amusing, but chilling when it ends with the exchange of Eliza's shawl and we realize that these three terrible rascals may soon have her in their clutches. Stowe's first readers, many of whom might never have set foot in the barroom of a New England tavern, let alone a Kentucky one, must have been somewhat shocked and faintly titillated; the narrator apologizes, with some more of her deadpan sarcasm: Her readers had better get used to such company, she says, for these are men whose profession is becoming respected.
