The story of Keedon Bluffs — Story, Setting & Ideas
Edition facts
Before opening The story of Keedon Bluffs — Story, Setting & Ideas, the edition data offers a quick orientation: 54,140 words, 3 hr 56 min estimated reading time, and 17 detected text sections.
The text analysis averages about 16.7 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 “Mountain life -- Fiction,” connecting these edition facts with the source record’s subject description.
Calculated from edition completeness, EPUB availability, text structure and catalogue metadata. Not a user rating.
How this score is calculated
- 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
ertain young neighbor, who had indeed a good and willing pair of ears, and much readiness and adaptability of assent. Very pliable, withal, was “Skimpy” Sawyer—by the nickname “Skimpy” he was familiarly known, a tribute to his extreme spareness. He was peculiarly thin, and wiry, and loose-jointed. He had a good-natured freckled face, paler for the contrast with a crop of red hair; a twinkling and beguiling brown eye; great nimbleness of limb; and many comical twists of countenance at command.
He accompanied Ike blithely enough to Keedon Bluffs, one afternoon, to look at the cannon-ball on the ledge. A bridle-path, almost a road it might have seemed—for the woods, bereft of undergrowth by the annual conflagrations, gave it space—wound along the side of the mountain near the verge of the cliffs. The river, all scarlet, and silver, and glinting blue, was swirling far down in the chasm beneath them; the sheer sandstone bank rose opposite, solid as a wall; and beyond, the cove—its woods, and cabins, and roads, and fences, bounded by the interlacing mountains—lay spread out like an open map.
Peaceful enough it was to-day, as the boys stood on the Bluffs. There were wings, homeward bound, hurrying through the air, instead of shells with fuses burning bright against the sunset sky. No bugle sang. The river was murmuring low a plaintive minor lay that one might hear forever and never tire. Scanty shrubs of dogwood and sour-wood flaunted, red and orange, from the rifts of the great crags; here and there were fissures, irregularly shaped, and dark, save that upon the upper arch of each a ceaseless silvery light shimmered, reflected from the water. On one of the many ledges the cannon-ball lay unstirred.
“Skimpy, I b’lieve I could actially climb down this hyar bluff an’ coon it roun’ that thar ledge an’ git that ball,” said Ike, balancing himself dangerously over the precipice.
So far did it overhang the river at this point that he was startled by seeing a hat and face suddenly looking up at him from the depths below, and it was a moment before he realized that the hat and face were his own, mirrored in a dark pool.
“Ye couldn’t climb up ag’in with it in yer paw,” retorted Skimpy.
“Naw,” Ike admitted. “But ennyhow I’d like ter climb down thar an’ see what’s in them hollows. I b’lieve I could git inter one o’ ’em.”
Skimpy had taken a handful of pebbles and was skipping them down the river. He turned so suddenly that the one in his hand flew wide of the mark and nearly tipped his friend’s hat off his head.
“What air ye a-hankerin’ ter git in one o’ them holes fur?” he demanded, surprised, “so ez ye can’t git out ag’in? ’Pears-like ter me they’d be a mighty tight fit on sech a big corn-fed shoat ez ye air. An’ then I’d hev ter climb down thar an’ break my neck, I reckon, ter pull ye out by the heels.”
“I wouldn’t git in ’thout thar ’peared ter be plenty o’ elbow room,” Ike qualified.
“Who’s that?” said Skimpy, suddenly.
So absorbed had they been that until this moment they were not aware of a slow approach along the road behind them. The sight of a stranger was unusual, but so little curiosity do the mountaineers manifest in unknown passers-by that if the man’s manner had had no appeal to the boys, they would hardly have lifted their eyes; they would not even have stared after his back was turned.
But the stranger was about to hail them. He had already lifted his hand with an awkward wave of salutation. Still he fixed his eyes upon them and did not speak as he slouched toward them, and the two boys were impressed with the conviction that he had heard every word that they had been saying.
He was a tall, dawdling fellow of forty, perhaps, carrying a rifle on his shoulder, and dressed in an old brown jeans suit, ill-mended and patched here and there, and with some rents not patched at all. His hair, long and brown, streaked with gray, hung down to his collar beneath his old broad-brimmed wool hat. His face was lined and cadaverous, his features were sharp and shrewd. His eyes, bright, small, dark, and somehow not reassuring, expressed a sort of anxiety and anger that the boys could not comprehend.
The opening pages of The Story of Keedon Bluffs establish a landscape of doubled perceptions: the height of the bluffs is “augmented in popular rumor,” and their reflection in the river creates a deceptive depth. The narrator’s eye moves from the vast rock—splintered, creviced, with shrubs subsisting on “the bounty of the air”—to the small, rusted cannon-ball lodged on a ledge, a remnant of distant artillery. This object, “peaceful and motionless and mute,” becomes the focal point for the boy Ike Guyther, who wishes he had lived in those times of “riding and raiding.” The contrast between the silent present and the remembered clamor of war is drawn without sentimentality, grounded in the physical details of the cliff and its inhabitants: bats, lizards, and “stealthy, four-footed, marauding shadows.”
Voice and Regional Dialogue
The excerpts showcase a distinctive use of mountain dialect that is neither caricature nor mere decoration. When Skimpy remarks that a rooster “oughter hev his wings cropped, so ez he couldn’t fly around that a-way,” the grammar and vocabulary are precise to the setting. Obadiah’s curt rejoinder—“Hesh up!”—and his mother’s pointed retort about being “tongue-tied tharself” reveal family dynamics through speech patterns alone. The dialogue carries the narrative’s emotional weight: Skimpy’s longing for the violin is conveyed not by direct statement but by his nervous inability to keep his feet still while Obadiah plays. The author avoids glossing or translating these phrases, trusting the reader to infer meaning from context.
Contrasts in Character and Mood
A recurring pattern in the excerpts is the juxtaposition of opposing temperaments within the same scene. Obadiah’s musical mood is described as “harmoniously disposed,” yet his temper becomes “most discordant when his mood was most melodic.” While he plays merry tunes with a “fascinating crook” of his arm, Skimpy grows increasingly anxious, watching the sun sink and longing for silence. The violin, hung on the wall “in company with strings of red peppers, and bags of herbs,” is both an artistic instrument and a domestic object. The mother’s “aggressively neat appearance” contrasts with the rickety chair and the kitten sleeping in a fallen hat. These small oppositions—between art and utility, patience and eagerness, order and neglect—build a texture of daily life that resists simple resolution.
The Landscape as a Character
The setting is not a passive backdrop but an active presence that shapes perception and action. The bluffs are described with geological precision: “splintered and creviced,” with “rugged, beetling ledges, all atilt.” The river doubles the height of the cliff, and the cabin is “perched well up on the mountain slope,” offering a view of “long stretches of valley and range and winding river.” Yet the landscape is also intimate—the althea bushes serve as a clothesline, and the sulphur spring is a meeting point. The cannon-ball, half-draped by a vine, connects the remote wilderness to historical violence, but the narrative does not dwell on that history; instead, it lets the object sit quietly, “covered with rust,” as a counterpoint to the boy’s romantic longing for action.
Narrative Structure and Pacing
The excerpts reveal a deliberate, unhurried narrative pace that lingers on sensory details: the “glittering focus of dazzling white rays” of the sun, the “long red mane” of Obadiah, the kitten looking out “dubiously” from a hat. The story unfolds through a series of observed moments rather than rapid plot advancement. The boy’s discovery of the cannon-ball in the first chapter is followed by scenes of domestic life that seem tangential but accumulate meaning. The author uses free indirect discourse to blend the narrator’s voice with characters’ thoughts, as when Skimpy feels “as if the mountains shimmering through the haze were beginning to clumsily dance.” This technique creates a fluid boundary between external description and internal experience, inviting the reader to inhabit the characters’ perceptions without explicit psychological commentary.
Readers attentive to the interplay between the monumental and the minute will find the novel’s texture in its contradictions: a cannon-ball that never fired in battle, a musician whose harmony breeds discord, a landscape that is both vast and domestic. The excerpts suggest that the story’s tensions are not resolved but held in suspension, much like the ball on its ledge. Approach the text with patience for its digressions and an ear for its dialect; the rewards lie in the precision of its observations rather than in dramatic incident.
Reading about Keedon Bluffs, I remembered finding my grandfather’s coin in a riverbed—silent proof of someone else’s hurry. That quiet unease, where objects outlive their stories, came back in The Eight Strokes of the Clock — Key Ideas to Explore, where each tick seems to hold a vanished hand. Both books let time breathe softly around a single, held breath.
There are no reviews for this eBook.
What was your reading experience?
Capture what you thought, learned, and would like to remember.