1896, unpublished

This short story, set at a summer resort hotel, explores themes of camaraderie, cruelty, and regret. The narrator, a waiter, recounts the story of Bobby, a naive and cheerful colleague who becomes the target of pranks by his fellow waiters. Bobby's trusting nature and eagerness to please make him an easy mark for their jokes.

The turning point comes when the waiters, including the narrator, play a cruel trick on Bobby during a planned nighttime hike. They intentionally leave him behind and hide, expecting him to catch up. However, Bobby, in his haste to overtake them, veers off the path and suffers a severe head injury. He is found unconscious and later dies.

The story concludes with the narrator expressing deep remorse for his involvement in the incident. The tragic outcome of their prank serves as a stark reminder of the consequences of thoughtless actions and the importance of empathy and kindness.

The Harvard Monthly, March - July, 1897. Henry Milnor Rideout, for the first time, is credited as one of the editors. Pg. 73-75.

This story is about a man who visits a doctor, concerned about his lungs and, more importantly, his failing eyesight. The doctor examines him and finds no serious lung issues. However, upon examining his eyes, the doctor discovers that the man's retina is severely damaged. The man pleads with the doctor for a solution, as he needs to work to support himself and his child. He had lost his job as a bookbinder due to the introduction of new machinery and was hoping to secure a position as a conductor with the help of an old customer.

The doctor regretfully informs the man that there is no cure for his condition and that his vision cannot be improved. The man, disheartened and desperate, leaves the doctor's office and walks out into the busy city street. The contrast between the vibrant city life and the man's bleak prospects is highlighted as he walks past the bustling crowd, "three college men, their faces bright in the flare of the gasolene lamps, went laughing by", his future uncertain.

The story ends on a somber note, emphasizing the man's despair and the harsh reality of his situation.

The Harvard Monthly, Oct. 1897 to Feb. 1898, (Originally in Jan. 1898, pg. 131)

This story follows a young boy named Jack who lives in a small village. Jack's father, a hostler at the local inn, is often too busy to spend time with him. Jack finds the inn to be a dreary place and prefers to spend his time at the grist-mill or by the river.

One day, a group of sailors from the barque "Merry Andrew" come ashore and visit the inn. Jack is fascinated by their stories and songs, particularly those of the red-headed mate, Carmody. The sailors spend the day drinking and exploring the village, with Jack as their guide.

As the sailors leave, Carmody gives Jack a silver coin as a memento. Jack is left with a sense of wonder and sadness as he reflects on the sailors' departure. However, he also remembers the preacher's warning that those who partake in strong drink are sinners. Jack is torn between his fondness for the sailors and the religious teachings he has received.

The story ends with Jack contemplating the coin and the sailors' fate, highlighting the conflict between his personal experiences and the moral lessons he has been taught.

The Harvard Monthly, March - July, 1898. pg. 196. Originally July, 1898 edition.

This document contains an HMR editorial of the Harvard Monthly in July 1898. It is the first editorial attributed to HMR. 

The editorial section discusses the concept of prescribed physical training as a requirement for a degree. The editorial argues against this idea, emphasizing that while physical health is important, a university's primary focus should be intellectual development. It questions whether such a course truly falls within the scope of university training and suggests that it could be seen as a "snap" course. Additionally, the editorial highlights the poor air quality in lecture halls, suggesting that improving ventilation should be a higher priority than mandating physical exercise. Overall, the text reflects a concern for the proper role of a university and the prioritization of intellectual pursuits over physical training within that context.

The Harvard Monthly, Oct. 1898 to Feb 1899, pg.23 of the Oct. 1898 number.

This is the first edition with HMR listed as Editor-in-Chief. He shoulders the bulk of the Editorial pages and Book Notices.

In this volume, HMR's friend Raynal Cawthorne Bolling was given ample space, with four prose entries by the latter. The senior pair HMR and RCB make The Monthly their platform and they are bent on the nautical and mariner genre -- action yarns.

"Aboard The Orozimbo": follows Lewis Holton, a young man who finds himself penniless and working on a dilapidated schooner called the Orozimbo. Holton is initially miserable and contemplates contacting his wealthy uncle for help. However, he forms a bond with another sailor, John Fairfax, who shares a similar outlook on life. As they work together on the ship, Holton's perspective begins to shift. He starts to question the value of a life of dependence and material comfort. By the end of the story, Holton decides to reject his uncle's potential assistance and instead embrace a life of hard work and camaraderie with Fairfax. The story explores themes of self-respect, friendship, and the search for meaning in challenging circumstances.

Book notice in The Harvard Monthly, Oct. 1898 to Feb 1899, pg.47

This book notice is a review of George Bernard Shaw's "Plays, Pleasant and Unpleasant." The reviewer praises Shaw's wit and iconoclasm, 'manifestly he can not be judged by old standards'. HMR points to Shaw's The Devil's Disciple, not printed in the subject volumes, showing promise of lasting dramatic power.

Editorial in The Harvard Monthly, Oct. 1898 to Feb 1899, pg.83

This text is an editorial discussing a new course on Greek Drama, likely offered at Harvard University in 1898-99. The author highlights the course's significance as an opportunity for students outside the Classics department to engage with classical literature. The editorial emphasizes that the course's accessibility is a departure from the perceived rigidity and exclusivity of the Classics department, suggesting a positive shift in its approach to teaching. The author expresses hope that this course signals a broader trend towards inclusivity within the department, making classical knowledge more accessible to all students.

Editorial in The Harvard Monthly, Oct. 1898 to Feb 1899, pg.85

This text reflects on the changed atmosphere at Harvard University following the Spanish-American War. The author notes the shift in perspective among students and faculty, emphasizing a newfound clarity and understanding. This change is attributed to the experiences of Harvard men who enlisted in the war. Their service and sacrifice, both in active combat and in the challenges of inactivity, underscored the realities of patriotism and duty. The text highlights the personal connection to these individuals, emphasizing the impact of their experiences on the university community. It concludes by acknowledging the honor, gratitude, and sorrow associated with their service, and points to memorials on campus as a testament to their contributions. Overall, the text captures a sense of reflection and growth within the university community, prompted by the experiences of its members in the war.

Book notice in The Harvard Monthly, Oct. 1898 to Feb 1899, pg.90

This file contains a book review of "Selections from the Prose and Poetry of Walt Whitman," edited by Oscar Lovell Triggs. The reviewer praises Triggs for his thoughtful selection of Whitman's works, focusing on pieces that are characteristic of Whitman's style and themes rather than simply choosing the most popular or well-known pieces. The reviewer also notes that Triggs avoids a "conventional point of view" and instead presents a unique perspective on Whitman's work. The selections include both poetry and prose, providing insight into Whitman's life, his relationship with nature, and his artistic philosophy. Overall, the reviewer recommends the book to those who want to gain a deeper understanding of Whitman's work.

Book Notice in The Harvard Monthly, Oct. 1898 to Feb 1899, pg.135

HMR praises the first story, "The Turn of the Screw," for its dramatic and tragic qualities, comparing it to "Dr. Jekyll and Mr. Hyde." The reviewer emphasizes the power of the supernatural elements in the story, arguing against interpretations that focus solely on psychological allegory. The second story, "Covering End," is described as a lighter, more humorous work intended to provide relief from the intensity of the first. The reviewer praises the character of Mrs. Gracedew, who brings about a happy ending through her playful actions. The review concludes with a brief note on James's writing style, acknowledging its complexity while noting that it is less "wilful" in this book compared to some of his other recent works.

Editorial in The Harvard Monthly, Oct. 1898 to Feb 1899, pg.174 of the Jan. 1899 number.

This editorial discusses the need for Harvard University to acquire land for a dignified avenue approach. The author laments the recent loss of green spaces and the construction of unsightly buildings, which have negatively impacted the campus's aesthetics. While acknowledging the challenges, the author expresses gratitude for the efforts of those working to secure the avenue, hoping their endeavors will bring about positive change. The editorial emphasizes the importance of preserving the university's visual appeal and creating a more fitting entrance.

The Harvard Monthly, Oct. 1898 to Feb 1899, pg. 202 Feb. 1899 number.

This poem, titled "Frustra," reflects on the lives of those who have struggled bravely but ultimately failed to achieve their goals. It mentions "great gentlemen" who died in battle, "forgotten sages" whose wisdom went unappreciated, and a ship's captain overwhelmed by a storm. The speaker acknowledges their "failure and futility" but argues that their struggles were not in vain. Instead, the poem suggests that their final moments, filled with a "last passion of great hopelessness," were illuminated by a kind of brief, transcendent glory. The poem concludes by asserting that this final moment of passion is "mightier than success."

Editorial with William Morrow in The Harvard Monthly, Oct. 1898 to Feb 1899, pg.213 Feb. 1899 number

This text discusses the importance of undergraduate student participation in debating activities. It highlights the generous donation from the Hon. T. Jefferson Coolidge for debating prizes, intended to stimulate interest and encourage participation. However, the article expresses concern that the frequency of such gifts may lead to complacency and a lack of appreciation among the students.

The text points to the low turnout at the Princeton Debate trial as evidence of this apathy, contrasting it with the higher participation in previous years. It emphasizes the need for a spontaneous and enthusiastic response from the undergraduate body, without the need for external pressure or the harsh lesson of further setbacks.

While expressing confidence in the chosen representatives for the Princeton Debate, the article urges for greater interest and effort in the upcoming Yale Debate trial, as a way to truly fulfill the donor's expectations and realize the potential benefits of such generous support.

Book notice from The Harvard Monthly, Oct. 1898 to Feb 1899, pg.220

This file is a book review of "Three Studies in Literature" by Lewis E. Gates. The reviewer praises Gates's essays for their clarity, consistency, and thoughtful approach to literary criticism. The reviewer emphasizes Gates's ability to connect with his readers by presenting well-reasoned arguments and avoiding dogmatism. The reviewer also highlights Gates's effective use of the historical method in his analysis of Jeffrey, Newman, and Arnold. Gates is commended for his ability to strike a balance between considering the overall impact of an author's work and examining the intricate details. The reviewer finds Gates's writing style to be engaging and impactful, with a particular talent for using precise language to capture the essence of his subjects. Overall, the reviewer concludes that Gates's essays are not merely personal impressions but rather the result of careful study, insightful appreciation, and effective communication.

The Harvard Monthly, March to July, 1899. Pg. 76 of the April number.

This document discusses a proposal for a new literary magazine called "The American." The magazine aims to provide a platform for young writers, particularly college graduates, to enter the literary field. The author questions the necessity of such a magazine, arguing that while talented writers will eventually gain recognition, a publication specifically catering to young graduates might inadvertently promote mediocrity. The author emphasizes that existing difficulties in the publishing world may discourage less-determined writers, but a magazine with a preferential bias towards young graduates could become a "nursery for literati wholly and highly mediocre." The overall tone suggests skepticism towards the proposed magazine's potential impact on the literary landscape.

The Harvard Monthly, March to July, 1899. Pg. 82 in the April number.

This file is a review of the book "The Memory of Lincoln," a collection of poems selected and introduced by M. A. DeWolfe Howe.

Positives:

The book offers a convenient collection of important poetic memorials to Lincoln, such as works by Lowell, Whitman, Thompson, and Brownell.

It fulfills the need for a single volume gathering these significant pieces.

Negatives:

The introduction by Howe is criticized for its lack of structure and seeming "ill-digested."

The chronological arrangement of the poems leads to an "anticlimax," with weaker poems at the end.

The reviewer specifically mentions a poem by Paul Laurence Dunbar as being undeserving of its prominent placement due to its "colorless" nature.

Overall:

While the book provides a valuable service in collecting these poems, its impact is lessened by organizational issues and the inclusion of some weaker pieces.

The Harvard Monthly, March to July, 1899. Pg. 116 in the May number.

This file discusses the Boylston Prize Speaking competition at Harvard University. The author emphasizes the importance of the competition for developing public speaking skills, arguing that it complements the debating clubs by focusing on delivery, enunciation, and pronunciation. The author is pleased with the high number of participants and their diverse backgrounds, suggesting that the competition is regaining its prominence. To further improve the competition, the author proposes establishing a standing committee for judging, with two permanent members and one rotating member, to ensure a consistent yet adaptable standard of judgment.

The Harvard Monthly, March to July, 1899. Pg. 123 in the April number.

This book note contains a review of Bernard Shaw's "The Perfect Wagnerite." The reviewer praises Shaw's wit, ingenuity, and original phrasing, particularly his skill in interpreting Wagner's "Ring" cycle as a social and political allegory. However, the reviewer also notes that Shaw's interpretation may be too detailed and forced, and that other interpretations are possible. The reviewer highlights Shaw's argument that "The Ring" is only allegorical up to a certain point, after which it becomes traditional grand opera with conventional and sentimental elements. Shaw criticizes Wagner's didacticism and his promotion of love as a solution to all problems. The reviewer concludes by quoting a passage from Shaw's book that illustrates his characteristic style and social critique.

The Harvard Monthly, March to July, 1899. Pg. 162 in the July number.

This text discusses the issue of privacy and crowd control within the Harvard Yard. The author praises the Class Day Committee's efforts to limit access to the Yard on Class Day, emphasizing the need to enforce these rules strictly. However, the author argues that the problem extends beyond a single day. They highlight how the Yard's accessibility attracts unwanted visitors, including those disrupting Thursday afternoon vesper services, Sunday evening chapel services, and open-air concerts. The author expresses concern that unless action is taken, the Yard may become like the Boston Common, losing its exclusive character. The text concludes by emphasizing the urgency of the situation, even if solutions may not be implemented immediately.

1901

Leslies (American) magazine, vol 69, 1905, pp. 581-584.

1905

Summary and Style of "Getting Into Line"

"Getting Into Line," a short story by Henry Milner Rideout, follows Billy Drummond, a second-year medical student, as he eagerly awaits the results of his exams and prepares to take on his first case.

Billy's friend, Nason Sawyer, attempts to dissuade him from pursuing a career in medicine, describing it as a life of hardship and disillusionment. Sawyer recounts his own negative experiences as a doctor in China, emphasizing the physical and emotional toll the profession took on him.

Unfazed by Sawyer's warnings, Billy remains enthusiastic about medicine, particularly surgery. He describes his fascination with the operating room, vividly recalling his first observation of a surgical procedure. Billy is eager to experience the challenges and rewards of medical practice firsthand, viewing it as an adventure and a test of his abilities.

Billy's excitement is heightened by the recent experience of his senior classmate, Joe Kimball, who has just completed a demanding rotation and gone to bed exhausted. Billy sees Kimball as a role model who has faced "Experience with a great E," and he anticipates facing similar trials.

Stylistic Analysis

The story is characterized by a strong focus on dialogue, particularly the contrasting perspectives of Billy and Nason. This dialogue reveals their different personalities and outlooks on life, with Billy's youthful idealism juxtaposed against Nason's weary cynicism.

Rideout uses vivid imagery and sensory details to bring Billy's recollections to life. The description of the operating room, with its "dry, white light," "pails of blood," and "cold, steel instruments," creates a striking visual impression and conveys the intensity of the surgical environment.

Rideout's prose is generally straightforward and engaging, capturing the energy and enthusiasm of Billy's character. The story moves quickly, driven by the dialogue and Billy's eagerness to embrace the challenges of his chosen profession.

It's important to note that this analysis is based on a single source that only includes the beginning of the story. A complete understanding of the story's content and Rideout's stylistic choices would require access to the full text.

Everybody's magazine June 1906, pp. 172-177

"The Padre's Volcano", a short story by Henry Milner Rideout, recounts Captain Pratt's experience with a volcanic eruption and his subsequent interaction with Jesuit priests who study seismic activity. The story begins on the schooner Nostra Señora de Buen Viaje, as Captain Pratt points out the volcano to a listener and recounts a previous encounter with the fiery peak.

The narrative then shifts to Captain Pratt's recollection of his time at Pacatlog, a port on the island of Mindanao. As Captain Pratt and his crew were unloading rice and loading copra, the volcano erupted, causing the dock to collapse and sending the villagers fleeing in terror.

Displaying courage and resourcefulness, Captain Pratt used his ship to tow the villagers' boats to safety on a nearby island. Later, Captain Pratt was summoned by Jesuit priests to their observatory to provide an account of the eruption.

The priests, particularly the scientifically-minded Padre Francisco, were eager to document the event for their research. While Captain Pratt found their interest in "scientifical descriptions" amusing, he provided a detailed and colorful narrative of his observations.

The story concludes with Captain Pratt questioning whether one of the priests, an Irishman named Father Reilly, had winked at him, suggesting a shared amusement at the seriousness with which the other priest approached the study of volcanoes.

Stylistic Analysis

Rideout employs a distinctive narrative voice for Captain Pratt, characterized by nautical jargon and a gruff, humorous tone. This voice lends authenticity to the character and contributes to the story's lighthearted, adventurous tone.

Similar to other Rideout stories, "The Padre's Volcano" features vivid descriptions of exotic settings. The depiction of the erupting volcano, the chaotic scene at the dock, and the contrast between the rugged sea captain and the scholarly priests create a memorable backdrop for the story.

The story's humor stems largely from the clash between Captain Pratt's practical, action-oriented perspective and the priests' more detached scientific interest in the volcano. This contrast provides a source of gentle satire, poking fun at both the single-minded focus of scientists and the tendency to over-intellectualize natural phenomena.

The story's frame narrative, with Captain Pratt recounting his experience to an unnamed listener, mirrors the structure of "Hantu." However, unlike the unresolved ending of "Hantu", "The Padre's Volcano" provides a clear resolution and a final moment of ambiguity with the potential wink from Father Reilly.

Atlantic Monthly December 1906

Summary and Stylistic Analysis of "The Ruin of Harry Benbow"

"The Ruin of Harry Benbow" is a short story by Henry Milner Rideout that recounts the downfall of a once-hospitable and jovial trading agent named Harry Benbow. The story is told through the perspective of Captain Pratt, who frequently visited Benbow's station in Carigao and witnessed his transformation firsthand.

The story begins with Captain Pratt reminiscing about Benbow's legendary hospitality, describing his house as a "chummery" and a "club" where travelers were always welcome. Benbow's generosity and jovial spirit made his station a popular gathering place for those seeking respite from the hardships of life in the Philippines.

The narrative shifts to Christmas Eve, when a group of men, including Captain Pratt, gather at Benbow's house for their annual festive celebration. Their revelry is interrupted by the arrival of Jefferson Davis Higgins, an American schoolteacher, who announces that a local rebel leader, Pablo Beves, has looted the customs house and kidnapped Miss Lucy Reade.

Benbow and his guests, fueled by Christmas cheer and a sense of adventure, set out to rescue Miss Reade and capture Beves. They successfully overcome the rebels and retrieve the stolen goods, including ammunition for Benbow's new telegraph line.

Initially intending to have Beves hanged, Benbow's resolve weakens upon meeting Miss Reade. He becomes smitten with her and begins to change his ways, abandoning his former hospitality and spending more time with Miss Reade.

Captain Pratt observes the gradual decline of Benbow's station as the once-lively gathering place becomes quiet and subdued. Benbow eventually marries Miss Reade and returns to England, leaving Carigao a shadow of its former self.

Captain Pratt attributes Benbow's ruin to the influence of Miss Reade, suggesting that marriage and domesticity have tamed the once-adventurous and carefree trading agent. The story ends with Captain Pratt lamenting the loss of his friend and the demise of the once-thriving social scene at Benbow's station.

Stylistic Analysis

The story is told entirely through the voice of Captain Pratt, a seasoned sailor with a distinctive narrative style. His speech is peppered with nautical terms and colloquialisms, creating a sense of authenticity and immediacy.

Rideout employs a humorous and ironic tone throughout the story, particularly in Captain Pratt's observations of Benbow's transformation and his commentary on marriage and domesticity. This lighthearted tone contrasts with the underlying theme of loss and the decline of a once-vibrant community.

The story is characterized by vivid descriptions of both the characters and the setting. The portrayal of Benbow's bustling bungalow, the chaotic scene of the rescue, and the stark contrast between the pre- and post-marriage atmosphere at the station effectively bring the narrative to life.

The use of dialogue is central to the storytelling, particularly the conversations between Captain Pratt and Benbow. Through their interactions, Rideout reveals the evolving dynamics of their relationship and highlights the changes in Benbow's personality.

"The Ruin of Harry Benbow" shares stylistic similarities with other Rideout stories discussed in our conversation history, including the use of a frame narrative, a strong narrative voice, and vivid descriptions of exotic settings. However, unlike "Hantu," which leaves the reader with a sense of unresolved mystery, "The Ruin of Harry Benbow" offers a clear narrative arc and a definitive conclusion.

It is interesting to note that the title of "The Ruin of Harry Benbow" refers to more than just Benbow's personal downfall. The story suggests that his marriage also led to the ruin of his trading station and the lively community that once thrived there. Captain Pratt's lamentations at the end highlight the broader impact of Benbow's transformation.

The Atlantic Monthly of May 1906

1906

Reprinted in "The Spinners' Book of Fiction", pp 245-260 [pdf 285-299]

1907

"Hantu" recounts a story told by Dr. Forsythe, captain and owner of the schooner *Fulmar*, to a younger companion while they are anchored off the coast of Banda.  The story takes place eleven years prior, during a ten-month cruise out of Singapore. 

Dr. Forsythe's narrative centers on a strange encounter he had while sailing through the Malay Archipelago. After being shipwrecked and spending several days adrift in a lifeboat, he finds himself on an uncharted island.  He makes his way inland and eventually comes upon a clearing where he collapses near a campfire.

The story ends as a figure approaches the firelight and speaks to Dr. Forsythe in Dutch.  The identity and intentions of the figure remain unclear.  Dr. Forsythe poses the question to his listener, "how much, if any, was a dream?" suggesting that the encounter may have been a hallucination brought on by exhaustion and the trauma of the shipwreck.

The story is told in a frame narrative, with Dr. Forsythe as the primary narrator. This structure creates a sense of mystery and anticipation, as the reader is drawn into the story through Dr. Forsythe's perspective.

Rideout's prose is descriptive and evocative, effectively transporting the reader to the exotic setting of the Malay Archipelago. The descriptions of the schooner, the island, and the approaching figure are detailed and vivid, creating a strong sense of atmosphere.

The story is infused with a sense of unease and the supernatural. The title itself, "Hantu", refers to a type of malevolent spirit in Malay folklore.  Dr. Forsythe's reference to "hantu" in his introduction to the story, and the ambiguous nature of the encounter with the mysterious figure, further contribute to this unsettling tone. 

1907

*Admiral's Light* tells the story of Miles Bissant, a young man living with his aging grandfather in a remote lighthouse on the coast of Maine. Their isolated existence is disrupted by the arrival of Captain Florio, a mysterious sailor who seeks refuge at the lighthouse, claiming to be recovering from an injury.  Miles is immediately drawn to Florio's adventurous tales and dynamic personality, finding him a welcome contrast to his grandfather's strict routine and preoccupation with the family's declining fortunes. 

As Florio settles into life at the lighthouse, Miles becomes increasingly aware of the sailor's hidden past and troubled conscience.  Hints of a dangerous enemy and a past crime emerge, culminating in the appearance of Abram, a menacing individual connected to Florio's former life.

 reveals a tense exchange between Florio and Miles regarding Abram: "An explosive whisper was the only comment: 'Damn the coolie!' Pocketing his big fists with one energetic shove, the sailor stared down at the floor."  This brief but telling scene underscores the underlying threat that hangs over Florio's stay at the lighthouse.

Miles also finds himself caught between his loyalty to Florio and his budding friendship with Joyce, a young woman living across the river with her father, a stern and disapproving fisherman. Joyce's inquiries about Florio's past and her father's suspicions add to the growing sense of unease.

As Miles navigates these complicated relationships, his grandfather's health deteriorates. On his deathbed, the old man reveals a long-held secret, confessing that he has been hoarding a hidden sum of money, a legacy from their family's maritime past. 

 captures the grandfather's deathbed confession: "'The worst is, I even kept— A faint flush had stolen into his hollow cheeks. 'The worst is, I even kept lighthouse—for money.'"  This revelation adds a new layer of complexity to the story, raising questions about the Bissants' past and the true nature of their legacy.

Following his grandfather's death, Miles assumes responsibility for the lighthouse, grappling with both the practical challenges of keeping the light burning and the emotional weight of his family's history.  Florio, revealing his true identity as Tony, continues to be a source of support and guidance for Miles, helping him to come to terms with his grandfather's secrets and embrace his role as the new keeper of Admiral's Light.

**Style Analysis**

*   **Atmospheric Setting:** The sources showcase Rideout's skill in creating a strong sense of atmosphere, particularly in his depiction of the rugged Maine coast. The excerpts capture the isolation and beauty of the lighthouse setting: "The circular base of the lamp cast downward a shadow so black as almost to appear a solid supporting cone."  The descriptions of the surrounding landscape, the changing tides, and the ever-present sounds of the sea contribute to the evocative quality of the narrative.

*   **Coming-of-Age Theme:** *Admiral's Light* explores themes of youth, responsibility, and the transition from innocence to experience. Miles's journey from a sheltered existence to confronting the complexities of the adult world is central to the narrative. His interactions with Florio, his grandfather, and Joyce shape his understanding of loyalty, duty, and the burden of family legacies.

*   **Character Development:** The sources provide glimpses into the distinct personalities that populate the story.

    *   **Miles Bissant:**  He is presented as a dutiful and somewhat naive young man thrust into circumstances beyond his control. His eagerness to please his grandfather, his admiration for Florio, and his hesitant affection for Joyce reveal his youth and his evolving sense of self. 

    *   **Captain Florio (Tony):** A figure of both charm and mystery, Florio embodies a life of adventure and hard-won experience. His evasive answers, his flashes of anger, and his underlying kindness suggest a complex past and a struggle for redemption.

    *   **Grandfather Bissant:**  A stern and demanding figure, the grandfather represents the weight of tradition and the Bissant family's connection to the sea. His deathbed confession and his final words of advice to Miles reveal a more nuanced and ultimately tragic character.

*   **Dialogue and Voice:**  Rideout effectively uses dialogue to reveal character, advance the plot, and create a sense of realism.

    *   **Example:** In, Florio's blunt and practical nature contrasts with Miles's youthful idealism: "'do you mean to say you leave a warm bed twice every night to watch these two tame lightning-bugs? Let 'em burn, boy! Get your sleep.... 't wouldn't be honest,' said the keeper of Admiral's Light."

*   **Blending Genres:** *Admiral's Light* combines elements of coming-of-age stories, adventure narratives, and even a hint of Gothic romance. The isolated setting, the mysterious stranger, and the presence of a shadowy threat evoke a sense of mystery and foreboding.  These elements are balanced with the realistic depiction of life in a coastal community and the emotional complexities of familial relationships.

Edited by Charles Townsend Copeland and Henry Milner Rideout

1909

The Saturday Evening Post, Jan 16, 1909

Republished by Houghton Mifflin, 1910

*The Twisted Foot* follows the adventures of David Bowman, an American who falls overboard from a ship in Southeast Asia and is picked up by two mysterious men in a *banca* (a type of outrigger canoe). He soon finds himself embroiled in a dangerous game of intrigue involving a stolen silver locket, a reclusive Englishman, and a sinister figure who leaves behind the mark of a twisted foot.

Bowman's journey takes him from a remote island hut to the bustling port city of Singapore and then into the mountainous interior of a fictional Malay sultanate. He encounters a colorful cast of characters, including the enigmatic Sultan Rama, the loyal servant Sidin, the beautiful and resourceful Mary Arnot, and the bumbling but well-meaning planter Mr. Hemmes.

As Bowman tries to solve the mystery of the locket and the twisted foot, he faces threats from various quarters, including Rosario, a treacherous half-breed, and a deadly assassin known as "The Thing." The plot unfolds through a series of chases, confrontations, and narrow escapes, culminating in a climactic showdown at the Sultan's palace.

**Style Analysis**

*   **Adventure and Exoticism:** *The Twisted Foot* exemplifies Rideout's signature style, blending fast-paced adventure with vivid descriptions of exotic locales. The sources highlight Rideout's talent for creating a sense of place, transporting the reader to the steamy jungles of Southeast Asia, the bustling streets of Singapore, and the opulent palaces of the Malay sultans. 

    *   **Example:**  "Tropic day came quickly. The red sun snapped the taut line of the eastern sea, like a coal burning a cord. All about the *banca* thin vapors drifted westward; and from the wet, feverous green of island heights in the west, long gray lines spread raggedly, steaming like smoke above rifle-pits."

*   **Intriguing Characters:** Rideout populates his stories with compelling characters who drive the plot and engage the reader's interest. 

    *   **David Bowman:** Bowman is a resourceful and determined protagonist, but he is also flawed, sometimes impulsive and prone to anger. He grapples with feelings of attraction for both Mary Arnot and the mysterious Englishman. 

    *   **Sultan Rama:** Rama is a complex and enigmatic figure, a ruler who embodies both the refined culture of his people and the fierce spirit of a warrior.  

    *   **Mary Arnot:** She is a strong-willed and independent woman who challenges the conventional expectations of her time. She is also shrouded in mystery, her motivations and past remaining elusive for much of the story.

    *   **The Twisted Foot:** This menacing figure adds a layer of suspense and horror to the narrative. The sources suggest that "The Thing" is not a human but some sort of supernatural entity. 

*   **Suspense and Foreshadowing:** Rideout masterfully builds suspense through foreshadowing and carefully placed clues. 

    *   **The Silver Locket:** The locket is more than just a stolen object; it represents a connection to a hidden past and foreshadows the dangers that Bowman will face.

    *   **The Twisted Foot:** This recurring symbol creates a sense of unease and foreshadows the presence of a malevolent force. The sources hint at a connection between the twisted foot and ancient Malay folklore.

*   **Cultural Immersion:** *The Twisted Foot*, like many of Rideout's works, demonstrates a deep engagement with different cultures. The story is steeped in details of Malay customs, language, and beliefs. Rideout does not merely use these elements as exotic window dressing; he integrates them into the fabric of the narrative, making them integral to the plot and character development.

    *   **Example:**  Rideout incorporates Malay phrases and concepts into the dialogue, such as *amok* (a state of murderous frenzy), *hantu* (a ghost or spirit), and *pati* (fate or death).  

*   **Blending Genres:** *The Twisted Foot* combines elements of adventure, mystery, romance, and even a touch of the supernatural. This blending of genres contributes to the story's complexity and keeps the reader guessing until the very end.

The Saturday Evening Post Nov. 12, 19, 26 1910

"Allee same Ho Bo! Awful dirty man! No good!"

"No likee this place! -- I leave I go! -- No work no more! I leave I go!"

Summary of this content

Setting: The story takes place on the Blue Knoll ranch in a hot, dry valley.

Characters:

Dan Blake: The ranch manager, a young, competent man.

Janet Woodgate: The young, confident owner of the ranch.

Mrs. Woodgate: Janet's mother, a kind and perceptive woman.

Mr. Gitcombe: A gopher man (pest control) with a mysterious past.

Mrs. Watt: A neighboring rancher and potential romantic interest for Dan.

Lal Singh and brothers: Sikh workers seeking employment.

Conflict:

Dan's struggles: Managing the ranch, dealing with difficult workers, and navigating the unexpected arrival of the Woodgates.

Gitcombe's advances: His flirtatious behavior towards Janet, creating tension and jealousy.

Plot:

The Woodgates' arrival: Their presence upsets the ranch's routine and triggers a power struggle.

Dan's internal conflict: Torn between his duty to the ranch and his growing feelings for Janet.

Gitcombe's manipulation: He uses his charm and wit to gain favor with Janet and undermine Dan.

The love triangle: The rivalry between Dan and Gitcombe for Janet's affection intensifies.

Themes:

Fair play: The concept of fair competition in love and work.

Social class: The dynamics between the wealthy Woodgates and the working-class ranch hands.

Cultural differences: The presence of the Sikh workers adds a layer of cultural diversity.

Jealousy and rivalry: The destructive nature of jealousy and its impact on relationships.

Open Ending: The story ends with a confrontation between Dan and Gitcombe, leaving the resolution of the love triangle and the ranch's future uncertain.

The Saturday Evening Post, Feb 28, 1914

reprinted by Duffield & Company, 1918

*   The story begins with a man, later known as Tin Cowrie Dass, mourning the death of his brother, Hosain.  A mysterious figure arrives, revealing that he knows the truth about Hosain's murder and attempts to blackmail Tin Cowrie Dass.

*   Seeking escape and a new identity, Tin Cowrie Dass boards the *Vulture*, a landing-hulk, only to find himself entangled with Checker Babu, a cunning and deceitful individual. Checker Babu attempts to sabotage the *Vulture* by filing its hawsers and defacing a large wooden packing case.

*   Checker Babu's actions inadvertently lead Tin Cowrie Dass to discover a hidden treasure - bags of silver - concealed within the packing case.  Forced to flee, Tin Cowrie Dass sets the *Vulture* adrift and escapes downriver.

*   He adopts the name "Tin Cowrie Dass," inspired by the cowrie shells found in his possession.  Haunted by the murder and his stolen identity, he grapples with the consequences of his actions. 

*   Tin Cowrie Dass eventually arrives in Calcutta, where he uses his newfound wealth to assume a more refined appearance and lifestyle. He closely follows news reports about the *Vulture* incident, which describes him as part of a "ferocious gang" responsible for piracy and the disappearance of a shipment of rupees. The reports also mention the murder of Hosain and the assault on a peon.

*   A dramatic encounter at a public garden brings Tin Cowrie Dass into contact with Captain Weatherby, a police officer, and a "Great Lord."  Tin Cowrie Dass prevents a young man, "Cow-Face," from detonating a bomb, saving the Great Lord's life.

*   Weatherby recognizes Tin Cowrie Dass's courage and resourcefulness and offers him a job in the police force. Despite his past, Tin Cowrie Dass desires to live an honest life but initially declines the offer, fearing the exposure of his past crimes.

*   Weatherby, sensing Tin Cowrie Dass's internal conflict, gives him a chance to prove himself by sending him on a mission to Adampur to investigate the suspicious deaths of an entire family. He provides Tin Cowrie Dass with funds and instructions.

*   In Adampur, Tin Cowrie Dass discovers that the family was poisoned, with the exception of a baby boy.  He ensures the child's safety and begins his investigation.  Suspecting a woman named Aunty Linah, he sets out to track her down.

*   His pursuit leads him across the desert, where he encounters a camel driver who shares his dialect and seems to possess knowledge of the Adampur poisonings.  They journey together, stopping at various "serais" (roadside inns).   Tin Cowrie Dass learns that the camel driver is involved in a criminal enterprise and that Faiz Rasul, the poisoned man, knew too much about their operation.

*   At the final serai, they encounter a group of men, including Isa, who force Tin Cowrie Dass to help them kidnap a young woman.   He reluctantly complies, torn between his desire to help the woman and his fear of the consequences of defying Isa and his companions.  

*   He eventually helps the woman escape, defying Isa and leading to a confrontation.   He returns to Calcutta with the woman and reports to Weatherby, confessing his actions and surrendering himself. 

*   Weatherby, though initially frustrated by Tin Cowrie Dass's exceeding his orders, is impressed by his courage and loyalty.  He reveals that the peon from the *Vulture* incident survived, implying that Tin Cowrie Dass is not a murderer.

*   The story concludes with Tin Cowrie Dass returning to his homeland, accompanied by his friends Ahmed and Isa. He is reunited with his king, who welcomes him back and confirms that he is a free man, his past transgressions cleared.

**Style Analysis**

*   **Adventure and Intrigue:**  "Tin Cowrie Dass" is a fast-paced adventure story filled with twists, turns, and suspenseful encounters. The protagonist's journey is marked by dangerous situations, narrow escapes, and moral dilemmas.

*   **Exotic Setting:**  The story unfolds in a vividly depicted setting, transporting the reader to the vibrant streets of Calcutta, the remote reaches of the Sanderbans, and the vast expanse of the Indian desert. The sources highlight the use of descriptive details that evoke the sights, sounds, and atmosphere of these locations.

*   **Cultural Immersion:**  The narrative is rich in cultural details, reflecting the diverse society of colonial India.  Rideout incorporates Indian words and phrases, explores religious beliefs and customs, and presents a range of characters from different social classes and backgrounds.  This attention to cultural nuances adds depth and authenticity to the story.

*   **Character Transformation:**  The protagonist undergoes a significant transformation throughout the narrative. Initially driven by fear and self-preservation, he gradually develops a sense of morality and responsibility. His actions become increasingly courageous and selfless, culminating in his willingness to sacrifice his freedom for what he believes is right. This arc of character development is central to the story's thematic exploration of redemption and second chances.

*   **Moral Ambiguity:**  The story does not present a clear-cut distinction between good and evil. Many of the characters, including Tin Cowrie Dass himself, operate in a morally gray area, making choices that are both commendable and questionable. This ambiguity adds complexity and realism to the narrative, forcing the reader to confront difficult ethical questions.

*   **Dialogue and Voice:**  Rideout uses dialogue effectively to reveal character, advance the plot, and create a sense of realism. The characters' speech patterns reflect their social status, education, and regional backgrounds, adding to the story's authenticity.  The narrative voice often adopts a slightly ironic and humorous tone, adding a layer of commentary to the events unfolding.

*   **Symbolism:** The recurring motif of the "tin cowrie" serves as a potent symbol in the story.  Cowrie shells were once used as currency in parts of Asia and Africa, representing value and exchange. In the context of the narrative, the "tin cowrie" represents the protagonist's newfound wealth, his assumed identity, and his search for a new life.  It also symbolizes the precariousness of his situation, as the shells are both valuable and easily lost. 

**Conclusion**

The story exemplifies Rideout's signature blend of adventure, exotic settings, and complex characters navigating moral dilemmas. The narrative's emphasis on character transformation, cultural immersion, and the use of symbolism contribute to its enduring appeal. 

The Saturday Evening Post Mar 13 1915

"Ten years!" growled Bob, staring across the waste. He stood like a defeated and homesick viking, his mighty frame relaxed, his fingers clutching together the breadth of his fiery beard. "Ten years, boy! What for? You went a-lookin' for gold. And you found it. And what was the good?"

The Popular Magazine

1915 March 7, No. 6 Vol. 3.

"A Man's Boy", by Henry Milner Rideout, is an adventure story set in the northern woods. The story begins with Mark Boswell, a young boy, worrying about his father, Judge Boswell, who has been away fishing for three weeks with no word. 

The narrative follows Mark as he embarks on a search for his missing father. Guided by a rough map drawn by Sheriff Hardy, Mark sets out into the wilderness, accompanied by the sheriff himself. Their journey takes them through challenging terrain and encounters with intriguing characters, including a suspicious widow and a taciturn Indian guide named Lola. 

Suspense builds as they find evidence of Judge Boswell's presence but also signs of danger. The discovery of the judge's hat raises their hopes, but Lola's evasiveness and the observation of a strange camp suggest something is amiss. 

The story's style is characterized by:

 Detailed descriptions of the natural world: Rideout vividly portrays the beauty and harshness of the northern woods, immersing the reader in the setting.

 A focus on the relationship between Mark and the rugged individuals he encounters: The interactions between Mark and characters like Sheriff Hardy and Lola highlight themes of courage, resilience, and the importance of trust in the face of adversity. 

A blend of adventure and mystery: The search for Judge Boswell is intertwined with hints of danger and wrongdoing, keeping the reader engaged and anticipating what will happen next, leaving the reader eager to learn about the mysterious camp of coiners and the fate of Mark's father.

Note: [BBM] See the novel "Lola the Bear"

The Saturday Evening Post, August 12, 1916

Summary and Style Analysis of "Parimban's Daughter"

• The story follows Dan Towers, who discovers his friend Parimban murdered and his village burned down.

• He finds Parimban's daughter, Leda, hiding and takes her under his protection.

• They bury Parimban and eventually leave the village.

• Dan struggles with his feelings for Leda and his uncertainty about their future.

• Runa, a friend of Dan's, falls in love with Leda.

• Leda seeks justice for her father's murder and confronts a local ruler.

• Dan grapples with his responsibilities toward Leda and his evolving understanding of her.

• The story concludes with Leda and Runa's love and a sense of hope for the future.

Stylistic Analysis

• Vivid descriptions: Rideout uses evocative language to create a strong sense of place and atmosphere. This is evident in his descriptions of Parimban's houseboat, the village, and the surrounding jungle. For example, Parimban's houseboat is described as a "floating casino, all bright doors and windows, with music playing on board".

• Strong characterization: Rideout creates memorable characters, particularly Leda, who is fierce, beautiful, and determined to avenge her father's death. Her transformation from a frightened girl to a strong woman is a key element of the story.

• Exploration of complex themes: The story touches on themes of loss, love, justice, and cultural differences. The relationship between Dan and Leda is particularly interesting, as it navigates the complexities of cultural boundaries and evolving responsibilities.

• Use of symbolism: Rideout employs symbols to add depth to the narrative. For instance, the golden wreath symbolizes hope and renewal, while Leda's sword represents her strength and determination.

The Saturday Evening Post Sep 22, 1917

Summary and Stylistic Analysis of "Hury Seke"

Dan Towers, a businessman in India, befriends Hury Seke, an eccentric American evangelist determined to convert India to Christianity.

Hury Seke travels to India with unwavering faith but little practical knowledge or funds.

Dan, initially amused by Hury's naiveté, comes to admire his persistence and courage.

Despite cultural and religious differences, they develop a genuine friendship.

Hury encounters various challenges in his mission, including skepticism, misunderstanding, and even danger.

He preaches to anyone who will listen, from grass-cutters to a wealthy Maharajah.

Hury suffers from sunstroke and eventually succumbs to his illness.

Dan helps Hury in his final days, recognizing the sincerity and strength of his faith.

The story highlights Hury Seke's unwavering faith, his unique approach to evangelism, and the unlikely bond he forms with Dan Towers.

Stylistic Analysis

Colloquial Language and Humor: Rideout uses informal language and humor to portray the characters and their interactions. Hury Seke's speech is filled with colloquialisms and biblical references, creating a distinct and often amusing voice. For example, he refers to himself as "on my way to win the unnumber'ble souls of India" and frequently quotes scripture.

Vivid Setting and Atmosphere: Rideout captures the sights and sounds of India, immersing the reader in the setting. He describes the bustling streets, the Maharajah's palace, and the river journey, creating a vibrant and evocative backdrop for the story.

Character Contrast: The story features a stark contrast between Dan Towers, the pragmatic businessman, and Hury Seke, the zealous evangelist. This contrast highlights their different perspectives on life and religion, adding depth to their relationship.

Themes of Faith and Friendship: "Hury Seke" explores the power of faith, even in the face of adversity. It also depicts an unlikely friendship that transcends cultural and religious differences. Hury's unwavering belief and Dan's growing respect for him underscore the story's themes.

Overall, "Hury Seke" is a story that combines humor, vivid descriptions, and thought-provoking themes. Rideout's skillful portrayal of characters and setting creates a memorable narrative about faith, friendship, and the impact of one man's unwavering belief.

The Saturday Evening Post, Nov. 3, 1918

Dan Towers encounters a dying evangelist, Hury Seke, in the Maharajah's palace. The Maharajah asks Dan to help send Hury Seke back home.

Dan overhears a plot against his friend Runa, a police officer. He tries to warn Runa but is unable to find him.

The Maharajah invites Dan to the palace, where he witnesses a gambling game and an assassination attempt on the Maharajah. Runa, disguised as a Singhalese gambler, thwarts the attempt.

Runa reveals his identity to Dan and explains the situation. They discuss the plot against Runa's life and the successful capture of the assassins.

Dan helps Hury Seke get on a ship back home. The journey is challenging due to Hury's illness and stubbornness.

After completing his task, Dan meets Runa at Archambaud's café for a celebratory dinner. Runa expresses his gratitude to Dan for saving his career.

The story ends with a dinner filled with good food and conversation. The Maharajah sends a pearl as a gift, a gesture of surprising grace.

Saturday Evening Post, April 26, 1919, pg. 5-7, 83, 87, 91, 95.

The story focuses on a group of three men, including Captain Weatherby, Runa La Flèche, and Dan Crowninshield, who are involved in a treasure hunt. The story hints at a hidden city with a mysterious past and a valuable cache of treasure. The narrative is driven by a combination of suspense and intrigue, as the men encounter obstacles and face danger while pursuing their goal. The passage introduces us to the characters and their personalities, as well as the setting and the stakes of the adventure. The excerpt is a thrilling build-up, hinting at a potential conflict between the protagonists and an unknown force, possibly a group of Thugs or a mysterious individual. The passage also reveals the potential presence of a map, which holds the key to finding the hidden city and its treasure.

Summary and Stylistic Analysis of "The Golden Wreath"

• “1919 The Golden Wreath ocr.pdf” tells a story set in India. A Malay policeman intervenes when an enormous pilgrim attacks a woman, begging for help from a sahib. The sahib calms the woman down, and she reveals her name is "Melicent." The pilgrim later addresses the sahib, calling him "Weatherby" and stating he's "finished the devil this time." He leaves Weatherby holding a silken cord with an attached carving.

• This brief excerpt reveals a style characteristic of many adventure stories written around the turn of the 20th century.

  • The writing is concise and fast-paced, quickly establishing the setting and introducing a conflict.

  • Dialogue is used effectively to reveal characters and advance the plot.

  • The use of exotic locations and mysterious artifacts adds intrigue and suggests a larger adventure to unfold.

• The story hints at a colonial context, with the presence of a sahib and a Malay policeman, reflecting the British Empire's influence in the region.

• This excerpt aligns with Henry Milner Rideout's other works, which often feature adventurous tales set in far-flung locales.

  • For example, "1906 Hantu - excerpt.pdf" places its story "in a cove on the coast of Banda," indicating an interest in distant settings.

  • Similarly, "1909 HMR Dragon's Blood" mentions various international locations like "Cebu and Sourabaya, Tavoy and Selangor," reflecting a cosmopolitan sensibility.

• The clipped dialogue, vivid descriptions, and sense of mystery in "The Golden Wreath" are all hallmarks of Rideout's writing style.

• "The Golden Wreath" is a thrilling adventure story with a colonial backdrop, likely drawing on Rideout's own experiences and interests in global settings.

The Saturday Evening Post June 19, 1920

 "The Toad," features an elderly man named Henry, who encounters a toad in his garden and begins a humorous and heartfelt conversation with it. The story explores themes of isolation, companionship, and the simple joys of life.

1920

Summary and Style of "The Foot-Path Way"

**"The Foot-Path Way" (1920) by Henry Milner Rideout follows the adventures of Dan Towers, an American engineer working in British India. **

**The novel is set in a fictional town called Mayaganj on the banks of the Ganges River. **

The story opens with Towers receiving a job offer from Massie Brothers and Brent Ltd. to survey a potentially valuable teak forest in a dangerous region.

He encounters various eccentric characters, including:

Parimban, a wealthy Arab who becomes Towers's friend and landlord.

Hury Seke, a reformed alcoholic turned religious zealot.

Runa la Flèche, an artistic and adventurous Frenchman who assists Towers in various schemes.

The novel features a series of interwoven plots and mysteries, including:

The disappearance of Amra Khan, an Indian prince, and his subsequent rescue.

The search for a lost golden wreath, stolen from the Maharajah of Mayaganj.

The pursuit of Leda, a mysterious young woman, into a remote jungle region.

The confrontation with Nata Kasuma, a corrupt local chieftain.

The discovery of a hidden treasure, guided by cryptic clues left by a deceased Englishman named Caltrop.

The novel concludes with Towers and his companions successfully overcoming these challenges and securing their rewards.

Stylistic Analysis

Rideout employs a vivid and descriptive style, rich in sensory detail and evocative imagery.

The narrative is fast-paced and action-packed, with frequent twists and turns that keep the reader engaged.

Dialogue plays a significant role in the novel, revealing characters' personalities and advancing the plot.

Humor is interspersed throughout the story, often arising from the eccentric characters and their interactions.

The novel's setting in colonial India provides a backdrop of exoticism and adventure, reflecting Rideout's own experiences and interests in global settings.

Rideout's style echoes that of other adventure writers of the early 20th century, such as Rudyard Kipling and H. Rider Haggard.

The use of exotic locations, mysterious artifacts, and perilous journeys creates a sense of wonder and excitement that is characteristic of the genre.

The novel's themes of friendship, loyalty, and courage resonate with readers of all backgrounds.

Conclusion

**"The Foot-Path Way" is a captivating adventure story set in colonial India. **

**Rideout's vivid prose, compelling characters, and intricate plots transport the reader to a world of exotic locales and thrilling escapades. **

The novel showcases Rideout's mastery of the adventure genre, blending action, mystery, and humor to create a memorable reading experience.

The Saturday Evening Post, May 12 1923,  May 19 1923, May 26 1923, June 2, 1923 and June 9, 1923

reprinted Duffield and Company 1923

Summary and Stylistic Analysis of "Barbry"

• "Barbry," a novel by Henry Milner Rideout, tells the story of Barbara Vannes, an orphan girl growing up in rural New England, likely in the late 19th century. The novel follows Barbry's journey of self-discovery and her interactions with the quirky and memorable inhabitants of her small town.

Plot Summary

• Early Life and Adoption: The story begins with Barbry as a young girl living with her unreliable father. After he abandons her, she is informally adopted by Bion Savory and his wife, Jen. The Savorys provide her with a stable home, but their contrasting personalities shape Barbry's development. Bion is kind and encourages her imagination, while Jen is strict and practical.

• Imagination and Reality: Barbry possesses a vivid imagination, often blurring the lines between fantasy and reality. She finds solace in reading Shakespeare, which fuels her dramatic interpretations of everyday events. Her imaginative nature clashes with Jen's pragmatism, leading to conflict and misunderstanding.

• Encounters with Memorable Characters: Throughout her childhood and adolescence, Barbry encounters a cast of eccentric characters who leave a lasting impression on her. These include Captain Barzillai Pagan, a strong and kind-hearted old sailor; Oddy Mowle, a mischievous fiddler and smuggler; and Ransom Hill, a timid but persistent suitor.

• Loss and Growth: As Barbry matures, she experiences loss and heartbreak. Bion's death forces her to confront the realities of life and death, and her relationship with Andrew Pagan, Captain Barzy's son, remains unfulfilled.

• Independence and Self-Reliance: After Jen leaves to visit relatives, Barbry finds herself alone and responsible for the Savory farm. She faces the challenges of running a household and managing farm work, demonstrating her resilience and resourcefulness.

• Uncertain Future: The novel ends with Barbry contemplating her future. She has come into possession of her inheritance, a ton of herring, and is unsure how to proceed. She is drawn to Andrew Pagan, but their relationship is complicated.

Stylistic Analysis

• Descriptive Prose: Rideout uses rich, evocative language to create vivid images of the rural New England setting. He captures the beauty of the natural world and the details of everyday life in a small town.

• Regional Dialect: The characters in "Barbry" speak in a distinctive New England dialect, adding authenticity and local color to the narrative. Rideout accurately reproduces the rhythms and idioms of rural speech, further immersing the reader in the story's setting.

• Humor and Pathos: The novel blends humor and pathos, creating a balanced and engaging tone. Rideout portrays the characters with affection and understanding, highlighting their eccentricities and their human flaws.

• Focus on Character Development: Rideout excels at character development, creating complex and memorable individuals who grow and change throughout the story. Barbry's journey of self-discovery is at the heart of the novel, and her interactions with the other characters shape her personality and her outlook on life.

Thematic Elements

• The Power of Imagination: Barbry's vivid imagination is both a source of strength and a challenge. It allows her to escape the harsh realities of her life but also leads to misunderstandings and conflict.

• The Importance of Community: The novel emphasizes the importance of community in a small town. The characters rely on each other for support and guidance, and their interconnected lives create a sense of belonging.

• Coming of Age: Barbry's story is a classic coming-of-age tale. She navigates the challenges of adolescence and young adulthood, learning valuable lessons about love, loss, and responsibility.

• The Search for Identity: Barbry's journey is also a search for identity. Abandoned by her father and raised by adoptive parents, she struggles to understand her place in the world.

Connections to Rideout's Other Works

• "Barbry" shares thematic and stylistic similarities with other Rideout novels, particularly those featuring strong female characters and evocative settings:

  • Like "Admiral's Light," "Barbry" features a young girl navigating life in a coastal setting with strong influences from the sea and maritime culture.

  • The theme of inheritance and its impact on a character's life, evident in "Barbry" through the ton of herring, is also explored in "The Twisted Foot."

  • Rideout's skilled portrayal of eccentric and memorable characters, seen in "Barbry," is also a hallmark of novels like "The Siamese Cat" and "The Key of the Fields and Boldero."

Conclusion

• "Barbry" is a captivating novel that combines engaging characters, a vivid setting, and thoughtful exploration of universal themes. Rideout's writing style is both descriptive and evocative, immersing the reader in Barbry's world and leaving a lasting impression.

The Saturday Evening Post Dec 8, 1923

This story, set in China, follows Chan Man Nen, a poor scholar with a loving wife. Despite their poverty, they always have enough food, a mystery to Chan. He discovers his wife has been secretly sacrificing her own meals for him. Heartbroken, Chan leaves to sell his fish but fails. Returning home, he finds his wife has died.

Later, a stranger recounts Chan's story, revealing he's been talking to himself. Chan's grief-stricken state worries his family. However, the head of the clan decides to fund Chan's pursuit of a master's degree. Surprisingly, Chan excels in his studies.

Fifteen years later, as a successful examiner, Chan encounters a dumb girl in a shop. He asks for paper, and miraculously, the girl speaks for the first time. Her father believes Chan has healing powers. Chan, however, is shaken by a birthmark on the girl's hand that reads "The Happiness of Chan Man Nen." He realizes this is a reincarnation of his wife.

The story is a poignant exploration of love, loss, and the interconnectedness of life and death. It delves into themes of destiny, resilience, and the enduring power of love.

The Saturday Evening Post April 18, 1925

This file contains a short story called "Old Things" by Henry Milner Rideout. It is set in China and follows the story of Chun Yu, a young man with a passion for antiques. Despite his parents' wishes for him to marry, Chun Yu spends his inheritance on his collection, leaving him in debt. He is tricked out of a marriage arrangement with a girl named Jasmine but later regrets his actions. With the help of a friend, he finds a job at a pawnshop. His knowledge of antiques helps him identify a valuable vase, leading to a better position at a larger pawnshop. The story ends with a reunion between Chun Yu and Jasmine, facilitated by his friend. The story highlights the themes of love, honor, and the value of knowledge.

The Saturday Evening Post July 4, 1925

The story is set in China and revolves around a mysterious legal counselor named King, who works behind the scenes to influence the decisions of a powerful judge. King's influence is discovered by a fortune teller, who threatens to expose him. King, fearing for his life and reputation, commits suicide. However, his death is suspicious, and his friend Chubby Little Plum investigates. Through a series of clever deductions, Little Plum uncovers the truth: King was murdered by a wealthy young man named Hwa-Hwa, who was having an affair with King's wife. The story ends with Hwa-Hwa's confession and the restoration of justice.

The story is a complex tale of mystery, intrigue, and the consequences of hidden actions. It explores themes of power, corruption, and the pursuit of truth. The author's detailed descriptions of Chinese culture and customs add depth and authenticity to the narrative.

The Saturday Evening Post Jun 26 1926

This story, set in ancient China, follows a young girl named Bright Honor who endures a series of tragic events. After her family is murdered by a pirate, she is taken captive and forced to become his wife. She eventually escapes and finds refuge with a kind family. However, her past catches up with her, and she is compelled to seek justice for her family. The story explores themes of loss, resilience, and the pursuit of justice.

Bright Honor's journey is one of immense hardship, but she ultimately emerges as a strong and determined young woman. With the help of her newfound family and friends, she is able to overcome adversity and find happiness. The story is a testament to the strength of the human spirit and the power of hope.

The Saturday Evening Post Mar 19, 1927

This story is set in China and explores themes of love, family, societal expectations, and the clash between tradition and modernity. The protagonist, Thriving Garden, is a young woman from a wealthy family who defies her father's wishes to pursue her passion for painting. She attends a co-ed art school, where she meets Fong Hsu, a talented but poor artist. They fall in love, but their relationship is forbidden due to their differing social statuses. Thriving Garden eventually leaves her family to marry Fong Hsu, and they struggle to make ends meet. The story also delves into the complex relationship between Thriving Garden and her father, who initially disowns her but eventually comes to accept her choices. The narrative highlights the challenges faced by individuals who dare to challenge societal norms and pursue their own paths.

1928

Summary and Stylistic Analysis of "Lola the Bear"

"Lola the Bear" (1927) by Henry Milner Rideout is an adventure story set in the woods of Maine, revolving around the search for a missing father and the bond between a young boy and an enigmatic Indian guide.

Plot Summary

The story follows Mark Boswell, a young boy recovering from an illness, who embarks on a journey to find his father, Judge Boswell, who has mysteriously disappeared in the wilderness.

Accompanied by Sheriff Josephus Hardy, they venture into the woods, relying on maps and clues to trace the Judge's path.

They encounter a reticent but skilled Indian guide named Lola, also known as "The Bear," who reluctantly agrees to help Mark find his father.

Their search leads them through winding rivers, dense forests, and hidden coves, facing challenges like treacherous rapids and encounters with suspicious characters.

Lola's knowledge of the wilderness proves invaluable as he guides Mark through the intricate landscape, revealing his resourcefulness and understanding of nature.

The story involves a subplot concerning a group of unsavory campers who are suspected of being involved in Judge Boswell's disappearance.

Mark's journey becomes a test of his resilience and courage as he faces the uncertainties of the wild, relying on Lola's guidance and protection.

The climax of the story likely involves a confrontation with the campers and the ultimate reunion between Mark and his father.

Style Analysis

Rideout employs a descriptive style that vividly captures the atmosphere of the Maine wilderness, drawing the reader into the story's setting.

He effectively uses sensory details to depict the sights, sounds, and smells of the natural world, immersing the reader in the story's environment.

Dialogue plays a crucial role in character development, particularly showcasing Lola's unique speech patterns and laconic wit.

The narrative maintains a steady pace, building suspense as Mark and Lola delve deeper into the wilderness and closer to the truth behind the Judge's disappearance.

Rideout's writing often reveals a subtle humor, stemming from Lola's unconventional wisdom and the juxtaposition of the young boy's perspective with the rugged reality of the woods.

Connections to Other Works

"Lola the Bear" shares thematic similarities with "The Foot-Path Way," both involving journeys through challenging landscapes, encounters with diverse characters, and the pursuit of a missing person.

Like in "The Foot-Path Way," the setting in "Lola the Bear" plays a significant role, shaping the characters and driving the narrative's central conflicts.

The use of a local guide with specialized knowledge of the environment is also a recurring element, highlighting the importance of cultural understanding and respect for nature in both stories.

Both narratives showcase Rideout's ability to craft engaging adventure stories that blend elements of mystery, action, and cultural exploration.

Conclusion

Based on the provided excerpt, "Lola the Bear" is likely a captivating adventure story that explores themes of courage, resilience, and the power of human connection in the face of adversity.

The story's setting in the Maine wilderness provides a rich backdrop for the unfolding events, and the character of Lola emerges as a memorable and compelling figure.