Love Stories — Story, Setting & Ideas
Edition facts
The source record for Love Stories — Story, Setting & Ideas measures this digital text at 77,025 words, 5 hr 35 min estimated reading time, and 7 detected text sections.
The text analysis averages about 14.1 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, American,” 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
There was a strong odour of burnt rags in the air, and the man sniffed. Then he put a hand to his upper lip--the right hand. She was holding his left.
"Did I lose anything besides this?" he inquired. His little moustache was almost entirely gone. A gust of fire had accompanied the wall.
"Your eyebrows," said Jane Brown.
The man--he was as young for a man as Jane Brown was for a nurse--the man lay quite still for a moment. Then:
"I'm sorry to undeceive you," he said. "But my right leg is off."
He said it lightly, because that is the way he took things. But he had a strange singing in his ears.
"I'm afraid it's broken. But you still have it." She smiled. She had a very friendly smile. "Have you any pain anywhere?"
He was terribly afraid she would go away and leave him, so, although he was quite comfortable, owing to a hypodermic he had had, he groaned slightly. He was, at that time, not particularly interested in Jane Brown, but he did not want to be alone. He closed his eyes and said feebly:
She gave him a teaspoonful, bending over him and being careful not to spill it down his neck. Her uniform crackled when she moved. It had rather too much starch in it.
The man, whose name was Middleton, closed his eyes. Owing to the morphia, he had at least a hundred things he wished to discuss. The trouble was to fix on one out of the lot.
"I feel like a bit of conversation," he observed. "How about you?"
Then he saw that she was busy again. She held an old-fashioned hunting-case watch in her hand, and her eyes were fixed on his chest. At each rise and fall of the coverlet her lips moved. Mr. Middleton, who was feeling wonderful, experimented. He drew four very rapid breaths, and four very slow ones. He was rewarded by seeing her rush to a table and write something on a sheet of yellow paper.
"Resparation, very iregular," was what she wrote. She was not a particularly good speller.
After that Mr. Middleton slept for what he felt was a day and a night. It was really ten minutes by the hunting-case watch. Just long enough for the Senior Surgical Interne, known in the school as the S.S.I., to wander in, feel his pulse, approve of Jane Brown, and go out.
Jane Brown had risen nervously when he came in, and had proffered him the order book and a clean towel, as she had been instructed. He had, however, required neither. He glanced over the record, changed the spelling of "resparation," arranged his tie at the mirror, took another look at Jane Brown, and went out. He had not spoken.
It was when his white-linen clad figure went out that Middleton wakened and found it was the same day. He felt at once like conversation, and he began immediately. But the morphia did a curious thing to him. He was never afterward able to explain it. It made him create. He lay there and invented for Jane Brown a fictitious person, who was himself. This person, he said, was a newspaper reporter, who had been sent to report the warehouse fire. He had got too close, and a wall had come down on him. He invented the newspaper, too, but, as Jane Brown had come from somewhere else, she did not notice this.
In fact, after a time he felt that she was not as really interested as she might have been, so he introduced a love element. He was, as has been said, of those who believe that nurses go into hospitals because of being blighted. So he introduced a Mabel, suppressing her other name, and boasted, in a way he afterward remembered with horror, that Mabel was in love with him. She was, he related, something or other on his paper.
At the end of two hours of babbling, a businesslike person in a cap--the Probationer wears no cap--relieved Jane Brown, and spilled some beef tea down his neck.
Now, Mr. Middleton knew no one in that city. He had been motoring through, and he had, on seeing the warehouse burning, abandoned his machine for a closer view. He had left it with the engine running, and, as a matter of fact, it ran for four hours, when it died of starvation, and was subsequently interred in a city garage. However, he owned a number of cars, so he wasted no thought on that one. He was a great deal more worried about his eyebrows, and, naturally, about his leg.
Mary Roberts Rinehart's Love Stories (1919) opens not with a ballroom or a moonlit garden but with a probationer named N. Jane Brown counting pulses beside a man whose leg has just been crushed by a falling warehouse wall. The man, Middleton, has lost his moustache to a gust of fire; the nurse's uniform crackles with too much starch. This is the world of the collection: hospital wards, scrub-closets, and chapel windows dedicated to dead daughters. The catalog subjects—'Love stories, American' and 'Romantic Drama'—suggest conventional romance, but the excerpts show Rinehart using injury and institutional routine as the ground for connection, and sometimes for its failure.
Nurses, Patients, and the 'Arrogance of Goodness'
The first story, 'Twenty-Two,' introduces a probationer who hopes to be 'plain Jane Brown'—a wish undercut by the narrator's aside that she 'could never be really plain.' Rinehart's tone is wry, but the hospital setting is not merely picturesque. When the Avenue Girl appears in a later story, the ward's response is not compassion but judgment: 'The ward flung its virtue at her like a weapon.' The phrase 'arrogance of goodness' recurs, and the probationer's defiance—filling a cup with ice, straightening pillows—becomes a quiet protest against 'a world that mutilated its children and turned them out to die.' The love stories here are shadowed by social cruelty, and Rinehart does not pretend that a kiss can erase it.
Silence and Gesture in the Ward
Rinehart gives significant space to characters who cannot speak. In one excerpt, a 'Dummy' communicates by gestures—miming a dog, a bandaged leg—while the Senior misreads him: 'He's trying to let me know that he knew her when she was a baby.' The Dummy then goes to the chapel, where the stained-glass window reads 'To the Memory of My Daughter Elizabeth'—a name that belonged to the Avenue Girl 'not so long ago.' The coincidence is noted but not explained. Rinehart uses the Dummy's silence to suggest knowledge that language cannot carry, and the chapel scene implies a grief that the ward's busy routines cannot address. The love story here is not spoken; it is stored in a scrub-closet and a memorial window.
Time Measured by Night Nurses and Fever Baths
Rinehart marks time in the hospital not by hours but by 'night nurses and day nurses; by rounds of the Staff; by visiting days; by medicines and temperatures and milk diets and fever baths.' This rhythm governs the characters' lives. Middleton, after his amputation, feels 'a strange singing in his ears' and invents pain to keep Jane Brown beside him. The interne, drying his hands, tells the probationer that for the Avenue Girl 'there doesn't seem to be any way back.' The stories are structured around these small, clinical intervals—a teaspoon of water, a pulse count, a shared towel—rather than grand declarations. Love, in Rinehart's hands, is something that happens in the margins of a shift schedule, between dressing changes and chapel bells.
Readers expecting conventional romantic plots may be surprised by the collection's clinical precision and its willingness to leave wounds unbandaged. The excerpts offer no guarantee of happy endings; the Avenue Girl 'did not ask' for life, and the Dummy's story remains a gesture. Approach these stories as character studies set in a world where love is tested not by rivals but by the 'general arrogance of goodness' and the slow, unglamorous work of care.
There’s a thread in those hospital stories—how the body’s wreckage lets tenderness slip through, unasked for. It keeps reminding me of something quieter in The Heart of Hyacinth — A Closer Reading, where love isn’t declared so much as discovered in the hush between verdicts. I wonder if that’s the whole of it, the not-asking. Strange how that stays with you.
There are no reviews for this eBook.
Take a moment to reflect on this book
Create a short personal record of your experience with this book.