Judith Moore; or, Fashioning a Pipe — Edition Insights
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For Judith Moore; or, Fashioning a Pipe — Edition Insights, the stored edition analysis reports 52,862 words, 3 hr 50 min estimated reading time, and 5 detected text sections.
The text analysis averages about 19.5 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 “Love stories,” connecting these edition facts with the source record’s subject description.
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- Title & short description10 pts
- Source metadata20 pts
- Text length15 pts
- Chapters / structure15 pts
- EPUB file integrity20 pts
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Read the Text
Andrew was eager to see Miss Moore again,--although he felt a masculine irritation against her for taking umbrage at well-meant and thoroughly sensible advice. Perhaps at the bottom of this there lay a _soupçon_ of annoyance with himself, that he had spoken so abruptly to her upon the subject, mingled with a compassionate remembrance of what Mr. Morris had told him of her delicacy. He was very glad to find an excuse to go up to his woods, where they stretched past the Morris house; and a pretence that he was looking for suitable trees to cut down for foundations for his hay-stacks, justified him in his own eyes for strolling among his trees in very leisurely, but apparently disinterested fashion. He must, however, have been paying some attention to the house on his right, for when Mrs. Morris ran out from the old orchard behind the house to the barns, calling, "Father, Father, where are you? Come here, quick, do, hey Father!" Andrew promptly responded, leaping over the fence and speedily reaching her side.
"What's wrong?" he asked.
"Land of love! But I'm glad you've come, if she did call you long-legged: all the better for her now if you be. I hope she ain't fell by this time. Wonder where Father is. I never seen such a man; always gone when he's wanted. I declare it beats me where he gets to. It's enough to drive--"
"What is it, Mrs. Morris?" demanded Andrew, his heart misgiving him. "Can't I help?"
"'Deed you can! And to think of her calling you long-legged, and the very next day having to depend on you for her life, may be, or to save one of her own legs being broke--"
Mrs. Morris got no further. A little faint cry struck Andrew's ears, coming from the direction of the orchard.
"For heaven's sake, come on, and show me what's wrong," he cried. "Don't stand there palavering."
"Why, sakes alive! Don't you know? Miss Moore got up in a tree and--"
But by this time they were in the orchard. A glance explained the situation to Andrew.
High up on an apple-tree branch stood Miss Moore, clinging with both arms round a limb above her, her face white as death, her eyes dilated with fear. A ladder's head was within six inches of her feet. Andrew was up it in an instant. He knew the trouble. Only last year a hired man of his had ascended a tree to pick fruit. He was seized with this ague of dizzy fear, and flinging himself against a stout limb, had held on like grim death. It took two men to get him down; his terror made him clasp the tree convulsively. It was days before he was well again.
Miss Moore had evidently not seen him, nor heard his coming. As he slipped his arms about her, she gave a great start, and turned to look at him with eyes which seemed to expect some tangible shape of horror, evolved out of her illogical and intangible fear.
When she saw who it was, her eyes filled and her lips trembled.
"Oh, take me down. Do take me down."
"Yes, indeed, I will," said Andrew, with quiet assurance. "Let go of the branch."
She shuddered. The spell of the vertigo was yet upon her. Her arms tightened upon the bough.
"Do take me down," she pleaded childishly. "I'm frightened."
"My dear, you must loose your hold," said Andrew, steadily.
Then, with one arm about her, he reached up and one by one undid the clinging fingers, gathering them into his palm as he did so. With a force that seemed cruel, he pulled down the slender wrist and placed her hand upon his shoulder. Her face expressed the agony of dizziness. With blind instinct she put her other arm about his neck and clasped it close. He felt her form relax, and braced himself in time to sustain her dead weight as she fainted.
The descent of the ladder was easy enough. Andrew had carried many a bag of wheat up and down his steep granary stairs. The principle of balancing an inert woman is much the same. He carried her into the house and laid her down upon the broad home-made couch, covered with dark brown calico, that stood in the kitchen. Mrs. Morris had talked volubly during these proceedings, but only after he laid Judith down, did Andrew begin to hear what she was saying.
"She does look gashly!" said Mrs. Morris. "Whatever would I do if she was to be took! And this minute she looks fit for laying out."
"Goodness alive," said Andrew. "Can't you do anything to bring her to? Bathe her face, or something?"
Joanna E. Wood introduces Andrew Cutler not with a grand entrance but with a catalogue of contradictions: he wears 'the traditional blue jeans of the countryman' yet possesses a neck 'such as we see modelled in old bronzes.' The narrator's eye lingers on the 'little flattened plateau on the bridge' of his nose, calling it 'Spanish,' and remarks that 'Mother Nature must laugh in her sleeve at the descriptive names we tack to her models.' This wry, observational voice—part realist, part ironist—sets the tone for a novel that scrutinizes rural life through precise physical detail and a knowing aside.
The Epigraph as Blueprint
The novel's epigraph, drawn from Elizabeth Barrett Browning's 'A Musical Instrument,' recounts how the god Pan 'hacked and hewed' a reed to make a pipe. Wood's title echoes this: Fashioning a Pipe. The poem's violence—'drew the pith, like the heart of a man'—suggests that creation exacts a cost. Whether this applies to Andrew's cultivation of land, Judith's emergence as a singer, or the shaping of character itself, the epigraph frames the narrative as a process of deliberate, even painful, making. Wood does not explain the parallel; she lets the poem stand as a quiet preface to the chapters that follow.
The Narrator's Eye for Detail
Wood's narrator is a connoisseur of the telling detail. Hiram Green's house has windows with semicircular tops, but 'from economic reasons' the semicircles are filled with wood, giving the house 'eyebrows' and 'a supercilious air.' Mrs. Morris, passing a dyeing woman, notes with authority that 'them 'll streak when they dry.' The narrator observes that Mrs. Green 'was never visible; she was obliterated beneath the burden of work.' These observations are not merely descriptive; they carry judgment, humor, and a sharp sense of social hierarchy. The reader is invited to see the village as the narrator does—with a knowing, slightly amused eye.
Dialogue as Social Marker
Wood uses dialogue to reveal character and class. Mrs. Morris's speech is peppered with colloquialisms: 'I disremember that they used to be so when I was little.' Her greeting to Mrs. Slick—'Been dyeing?'—is affable but pointed, and Mrs. Slick's curt 'Yes' closes the exchange. The Misses Green are 'enshrined' with a 'sallow young Methodist clergyman,' and Mrs. Morris's private comment—'Hester Green's got no spunk or she would not stand it'—exposes her blunt, unsentimental view of marriage. These exchanges are brief but layered, each line carrying the weight of social position and personal history.
The Unfinished Clearing
The novel opens on Andrew's 'clearing'—'a part of the woodland that Andrew was taking under cultivation.' The description is stark: 'stubborn stumps standing irregularly amid the broken furrows.' This is not a pastoral idyll but a scene of labor and incompletion. The clearing mirrors the narrative's own method: Wood presents a world in the process of being shaped, with rough edges left visible. The reader, like Andrew, must wait to see what will grow from the broken ground.
Wood's novel rewards attention to its surfaces—the cut of a shirt, the shape of a window, the rhythm of a greeting. These details are not decoration but the very stuff of character and conflict. Readers who enjoy fiction that trusts the reader to infer meaning from concrete observation will find in Judith Moore a quiet, steady hand at work.
Reading about Andrew Cutler’s weathered hands against his fine leather belt reminded me of my grandfather’s workshop—rough tools, quiet pride. It stirred the same ache I felt years ago with Imre: A Memorandum — Inside the Classic, where a man’s surface tells only half his story. Both books shaped their raw material slowly, like water on stone, leaving me more thoughtful than before.
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