Other Things Being Equal — Story, Setting & Ideas
Edition facts
Other Things Being Equal — Story, Setting & Ideas can be approached with a clearer sense of reading commitment from its source measurements: 70,001 words, 5 hr 5 min estimated reading time, and 9 detected text sections.
The text analysis averages about 14.9 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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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
“I was at the theatre last night.”
The blow drew no blood.
“Which theatre?” asked Mrs. Levice, innocently.
“The Baldwin; Booth played the ‘Merchant of Venice.’”
“Did you enjoy it?” queried her aunt, either evading or failing to perceive the meaning.
“I did.” A pause, and then, “Did Ruth?”
Mrs. Levice saw a flash of daylight, but her answer hinted at no perturbation.
“Very much. Booth is her actor-idol, you know.”
“So I have heard.” She spread her crochet work on her knee as if measuring its length, then with striking indifference picked it up again and adjusted her needle,--
“She came in rather late, didn’t she?”
“Did she?” questioned Mrs. Levice, parrying with enjoyment the indirect thrusts. “I did not know; had the curtain risen?”
“No; there was plenty of time for every one to recognize her.”
“I had no idea she was so well known.”
“Those who did not know her, knew her escort. Dr. Kemp is well known, and his presence is naturally remarked.”
“Yes; his appearance is very striking.”
“Aunt Esther!” The vehemence of Mrs. Lewis’s feelings sent her ball of cotton rolling to the other end of the room.
“My dear, what is it?” Mrs. Levice turned a pair of bright, interested eyes on her niece.
“You know very well what I wish to say: everybody wondered to see Ruth with Dr. Kemp.”
“Because every one knows that she never goes out with any gentleman but Uncle or Louis, and we all were surprised. The Hoffmans sat behind us, and Miss Hoffman leaned forward to ask what it meant. I met several acquaintances this morning who had been there, and each one made some remark about Ruth. One said, ‘I had no idea the Levices were so intimate with Dr. Kemp;’ another young girl laughed and said, ‘Ruth Levice had a swell escort last night, didn’t she?’ Still another asked, ‘Anything on the tapis in your family, Mrs. Lewis?’ And what could I say?”
Mrs. Levice’s quiet tone did not betray her vexation. She had feared just such a little disturbance from the Jewish community, but her husband’s views had overruled hers, and she was now bound to uphold his. Nevertheless, she hated anything of the kind.
“I simply said I knew nothing at all about it, except that he was your physician. Even if I had known, I wouldn’t have said more.”
“There is no more to be said. Dr. Kemp and Ruth have become friendly through their mutual interest in several poor patients; and in the course of conversation one morning he heard that Ruth was anxious to see this play, and had no escort. So he asked her, and her father saw no objection to her going. It is a pity she didn’t think to hand round a written explanation to her different Jewish friends in the theatre.”
“There you go, Aunt Esther! Jewish friends! I am sure that no matter how indifferent Uncle is to such things, you must remember that our Jewish girls never go alone to the theatre with any one outside of the family, and certainly not with a Christian.”
“What has that to do with it, so long as he is a gentleman?”
“Nothing. Only I didn’t think you cared to have Ruth’s name coupled with one.”
“No, nor with any one. But as I cannot control people’s tongues--”
“Then I would not give them cause for wagging. Aunt Esther, is there anything between Ruth and Dr. Kemp?”
“Jennie, you surprise and anger me. Do you know what you insinuate?”
“I can’t help it. Either you are crazy, or ignorant of what is going on, and I consider it my duty to enlighten you,”--a gossip’s duties are all away from home,--“unless, of course, you prefer to remain in blissful or wilful ignorance.”
“Of course I knew you must have sanctioned her going last night, though, I must confess, I still think you did very wrongly; but do you know where she went this morning?”
Mrs. Levice was put out. She was enough of a Jewess to realize that if you dislike Jewish comment, you must never step out of the narrowly conventional Jewish pathway. That Ruth, her only daughter, should be the subject of vulgar bandying was more bitter than wormwood to her; but that her own niece could come with these wild conjectures incensed her beyond endurance.
“I do know,” she said in response to the foregoing question. “Ruth is not a sneak,--she tells me everything; but her enterprises are so mild that there would be no harm if she left them untold. She called on a poor young girl who, after a long illness, desires pupils in Spanish.”
The novel opens with a hummingbird dipping through the air and a long, drowsy cockcrow—details that establish a languid, dustless San Francisco summer. Ruth Levice sits rocking, her arms clasped about her knees, lost in a waking dream. The narrative voice is unhurried, attentive to sensory impressions and the subtle shifts of mood. When her cousin Jennie bursts in, the dialogue reveals family dynamics: Ruth’s father has overseen her upbringing until her twenty-first birthday, and her mother now introduces her to society. The prose lingers on gestures—a fan of sandalwood, a kiss—and on the tension between Ruth’s inner stillness and the social demands pressing upon her.
A Voice That Watches and Withholds
The narrator rarely enters characters’ minds directly, instead describing outward signs—a smile, a start, a shadow in the eyes. When Ruth encounters Dr. Kemp in the countryside, the text reports her physical reactions: “she answered, trying to speak calmly, and failing, dropped into silence.” The reader infers her agitation from what is left unsaid. This restraint extends to Kemp, whose “strong personality” is noted by Ruth’s father as “dangerously seductive,” yet the narrative never confirms his intentions. The voice maintains a cool, almost clinical distance, letting the reader piece together the emotional charge from small cues—a hand that lingers, a child swung to a shoulder.
Pace as a Measure of Tension
The opening chapters move slowly, with long descriptive passages and leisurely dialogue. As the story progresses, the rhythm shifts. In the excerpt from Chapter XV, the pace quickens: Mr. Levice sees the trio approaching, and his thoughts race through surprise, pleasure, and “a spirit of inquietude.” The sentences become shorter, more urgent: “He had been unexpectedly startled… The feeling, however, had vanished gradually… This, of itself, will bring a softness…” The narrator compresses time, jumping from a garden path to a recognition to a flood of misgivings. This acceleration mirrors the father’s anxiety and signals that the calm surface of the novel is about to break.
Setting as Emotional Barometer
San Francisco is not just a backdrop but a participant in the mood. The opening describes a “dustless, hence an anomalous, summer’s afternoon”—the anomaly hinting at something out of the ordinary. Later, the countryside scene is bathed in “mellow, golden sunlight,” and the trio strolls homeward through it. The natural world reflects the characters’ states: Ruth’s dreaminess, Kemp’s ease, the father’s unease. Even the palm tree and the cockcrow in the first paragraph establish a specific, almost drowsy atmosphere that contrasts with the social whirl of calling and jewels. The setting becomes a quiet counterpoint to the emotional drama, grounding it in a particular time and place.
Readers attentive to the novel’s language will find a story told as much through what is withheld as through what is said. The narrative voice rewards patience: small gestures, pauses, and shifts in pace carry the weight of unspoken feeling. Pay particular attention to the moments when the prose slows or quickens—they mark the turning points in Ruth’s quiet world.
I’ve often shelved Emma Wolf’s Other Things Being Equal beside my old The American — Reading Companion, and I think they share a certain hush. Both listen, rather than announce. Wolf traces a quiet Jewish home being gently altered; the companion notes how strangers reshape a familiar world. They sit together like two patient friends, understanding the same tender, unspoken burdens.
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