Blind mice — Text and Context
Edition facts
The source record for Blind mice — Text and Context measures this digital text at 104,428 words, 7 hr 35 min estimated reading time, and 39 detected text sections.
The text analysis averages about 11.0 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 “Middle West -- Fiction,” connecting these edition facts with the source record’s subject description.
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- Description quality20 pts
- Title & short description10 pts
- Source metadata20 pts
- Text length15 pts
- Chapters / structure15 pts
- EPUB file integrity20 pts
Total of 100 points, scaled to a 2.5-5.0 range. Editions with an empty description or a missing EPUB file are not scored.
Read the Text
Sprague was tall and slender, with large hands and feet. An even color glowed through his darkly tinted skin. He had deep set brown eyes. The other features were large; the mouth straight. A brown moustache, closely cut as was his dark hair, shaded his heavy upper lip. He wore fastidiously selected clothing that displayed an exaggeratedly quiet taste; the cravat chosen in stripes too minute for good general effect, and the cuffs, shoes, and other details of attire immaculate and suggestive of extreme thought for appearance. Sprague’s voice was low pitched and subdued. He spoke slowly and smiled occasionally in an extraordinarily attractive manner.
It was raining. At one of the stations a pretty girl entered the car, her mackintosh and umbrella dripping. John Winter, although farthest from the aisle, jumped quickly to his feet to offer her his place. Sprague moved next to the window, to allow her to sit down without passing him, and at once resumed his figuring. Winter hung to a strap and continued the reading of his paper and his frequent remarks to his friend, glancing now and then at the girl’s profile which was particularly pleasing. She looked demurely at her gloves, smiling slightly at some of John’s conspicuously uttered sallies to Jim. After three stations were passed she arose, and, with a hasty glance at the pleasant boyish face of the young man standing, left the car. Winter’s gaze followed her to the door.
“Why don’t you sit down, John?” asked Sprague without lifting his eyes from his work. Winter sat down rather suddenly. “We ought to put cement into that cellar wall of Howland’s house,” Sprague continued. “I told him so today and it was included in the estimates.”
“I didn’t know he came to the office,” returned Winter. “When was he there?”
“Just before you got back from lunch,” answered his companion.
“I was looking at some designs for art tiles,” explained John, “and so I was late. I wanted to see Howland badly. Did he say anything about my decoration scheme for the interior?”
“I showed it to him,” responded Sprague, “but he said he couldn’t afford it.”
“I’m sorry we ever touched his rotten house!” exclaimed Winter. “He has no more taste than a billy goat.”
“He’s coming in again tomorrow.” Sprague smiled a little. “So you can talk with him yourself.” Then, after a pause, “Lucy is expecting her mother, you said. When does she get here?”
“Tomorrow,” replied John with a grimace, taking up his paper again.
Jim resumed his figuring.
“Here, wake up,” he said a few minutes later, glancing out of the window as the train slowed down at a small station. “This is Rosedene. Suppose we get off here.” And the two alighted from the car.
When they turned into the street where John lived the rain had ceased falling, and they saw Mrs. Winter and Dimmie waiting at the gate in front of the pretty yard.
Lucy Winter’s smile was of the slow but warming kind. Her child’s was also warm, but quicker, like his father’s. As Lucy kissed John, Dimmie (who was named for Sprague, “Jimmie” having been corrected into “Dimmie” by the young gentleman himself at a fabulously tender age) attacked Jim with such demonstrations of esteem as would have disconcerted a less robust and self-contained individual.
Lucy was of medium size, with hands and feet not too small. She had a rather generous figure, the waist large and bosom low. Her hair, fine in texture and not abundant, was of a nondescript shade of brown, and was arranged low over her ears. Her nose was extremely shapely, her mouth large, but so well cut as to be beautiful. Her grey eyes had a wonderful clarity and frankness of gaze. She could not be called pretty, partly because the impression of her personality suggested too much seriousness, and partly because the line from her ear to her chin was too long. She wore a simple house dress of wash goods. The gingham sleeve apron, which she had taken off before going to the front gate, hung over one arm. While not over strong physically Lucy suggested an atmosphere of wholesomeness. And she was direct, almost abrupt, in speech.
Dimmie was a slim child of four with features and complexion like John’s, but he had his mother’s fine grey eyes. Dressed in clean white blouse and breeches, white shoes and socks, his yellow hair bobbed in Dutch fashion, he made a picture of health and buoyancy.
“What a glorious rain, Lucy.” John chuckled exuberantly. “The train went through it like a ship in a storm.”
The novel opens on a crowded suburban train, where two young men, John Winter and James Sprague, are introduced through a meticulous inventory of their appearances and mannerisms. John is short, fair, and boisterous, with a loud voice and a necktie matching his blue eyes; James is tall, dark, and fastidiously dressed, speaking slowly with a subdued voice. Their contrasting styles—one careless, the other immaculate—set up a pattern of opposition that extends into the domestic sphere of the Merwent family, where Nannie and Lucy engage in thinly veiled verbal sparring over dinner preparations and attention from the men.
Contrasting Portraits of Masculinity
The opening description of John Winter and James Sprague is unusually detailed, dwelling on clothing, complexion, and mannerisms. John's 'very blue eyes and fair hair' and 'pink and white' cheeks are paired with a 'boisterous and affectionate manner,' while James's 'deep set brown eyes,' 'large hands and feet,' and 'exaggeratedly quiet taste' suggest a studied reserve. The narrator notes that John's necktie matches his eyes—'a most becoming combination'—yet his dress shows 'a noticeable lack of care.' James, by contrast, wears 'fastidiously selected clothing' with 'immaculate' cuffs and shoes. These physical details do more than individuate; they establish a visual shorthand for two modes of being in the world: one open and unguarded, the other controlled and deliberate.
Domestic Volleys: Nannie and Lucy
The dialogue between Nannie and Lucy Merwent reveals a household charged with unspoken resentments. When Nannie complains of a headache, Lucy's offer to shop alone is met with a sharp retort: 'I've got sense enough to know whether I'm wanted or not.' Lucy's reply—'Mamma, please'—suggests exhaustion rather than anger. Later, Nannie announces James Sprague's visit with 'importance,' and Lucy's response—'Well, there's plenty'—is 'enigmatical.' At dinner, Nannie interrupts Lucy's exchange with James, pouting, and later accuses him of paying her insufficient attention. The conversation is layered with oblique accusations: 'I didn't mean you envied her,' Lucy insists, though the denial itself implies the charge. These exchanges, clipped and indirect, convey a family dynamic where affection and irritation are tightly interwoven.
The Suburban Setting as Social Stage
The novel's opening situates its characters in a specific milieu: the suburban train, with its 'frequent stops' and crowded cars, becomes a threshold between city and home. The rain falling outside reinforces a mood of enclosure. The Merwent home, with its refrigerator, blue pitcher of iced tea, and telephone calls, is rendered in everyday domestic detail. Yet these details are never neutral; they are the props of a social performance. Nannie's 'careful toilette with a rose in her hair' and James's 'immaculate' attire suggest that even casual evenings require staging. The telephone call from John—'I was mistaken about Jim's working tonight'—triggers a chain of small adjustments, revealing how the household's rhythms are shaped by the arrivals and departures of these two men.
Readers attentive to the novel's early patterns will find that its tensions are encoded in the smallest gestures: a pout, a hesitation, a carefully chosen cravat. Kay-Scott's prose rewards close attention to what is said and what is left unsaid, particularly in the Merwent women's exchanges. The suburban setting, with its trains and telephones, is not merely backdrop but a mechanism that governs who is present and who is absent.
I’ve often thought of the quiet ache in Blind Mice — how its two young men circle each other without quite speaking, their friendship a matter of glances and half-finished sentences. That same hush lives in Kate plus 10 — Story, Setting & Ideas, where ten lives overlap like soft footsteps in one hallway. Both books seem to know that we are loneliest in company.
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