The Moth Decides: A Novel — Reading Notes

(0 User reviews)   1414
In Category - Classic Romance
Jewell, Edward Alden, 1888-1947 Project Gutenberg 2020 Not confirmed
Love stories; Mate selection -- Fiction; United States -- Social life and customs -- 20th century -- Fiction; Resorts -- Michigan -- Fiction Readers of public-domain and historical texts
Project Gutenberg digital edition en

Edition facts

Words 62,798
Reading time 274 min
Text sections 6

This digital edition of The Moth Decides: A Novel — Reading Notes is described by source-level measurements including 62,798 words, 4 hr 34 min estimated reading time, and 6 detected text sections.

The text analysis averages about 13.0 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 “Love stories,” connecting these edition facts with the source record’s subject description.

Edward Alden Jewell's 1922 romance uses a summer cottage setting and a Dutch clock's 'wiry, indignant tick' to establish a precise, sensory narrative voice. The novel shifts between characters' internal doubts and external comedy, as seen in the Rev. Needham's rustic bench and the maid Eliza's missing raisins.
Share
Editorial Edition Score 4.7/5

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.

Edition quality

Read the Text

ere was a light step outside on the turf of the hillside. One unalert might not have noted it, or might not have known it for a human tread, where there was such a patter of squirrel and chipmunk scampering. But Louise was alert. She might be calm, but she was also alert. And she knew it was no squirrel out there. That was Leslie. He was lingering about under her window, undecided whether he ought to risk pebbles or a judicious whistle by way of making sure she was awake. At the faint sound of his foot she raised her head quickly from the pillow.

"Louise!" he whispered.

You might have thought it some mere passing sibilance of wind. But you could not be expected to know Leslie's voice as she knew it.

The girl slipped softly out of bed. She did not want to rouse her sister. Hilda was sleeping with her. Hilda had given her own room to Aunt Marjie.

When Louise stepped out on to the bare cottage floor, her feet encountered cool little hillocks of sand, the residue of sundry bed-time shoe dumpings. One could not live up here beside Lake Michigan without coming to reckon sand as intimately and legitimately entering into almost every phase of existence. Indeed, she trod on sand more or less all the way across to the single little window; then dropped lightly on to her knees before the window and peered down through the screen.

"I'm awake, Leslie," she whispered.

And the lad who had been eagerly gazing at this very window, vacant till now, smiled faintly, nodded, and made motions signifying that he would wait for her in the little rustic "tea-house." However, his smile was very brief; and his manner, as he went away toward the specified rendezvous, was manifestly dejected.

When Louise turned back from the window, Hilda was stirring. Hilda lifted herself up on to an elbow and welcomed her sister with bright eyes.

"Who's out there?" she asked.

"Sh-h-h! It's Les. Go back to sleep, Hilda."

"Is he going with you?" the younger girl persisted.

"Only part of the way."

"Why doesn't he go all the way?"

"Because I would rather go alone," replied the older girl with a quite fascinating fusion of firmness and mystery.

But the manifest dignity of this response was slighted by Hilda, who merely remarked, in an unemotional yet still significant tone: "Oh, I see."

"Well, isn't it natural?"

"Isn't what natural, Lou?"

"Isn't it natural I should want to be alone when I meet Lynndal?"

"Oh, yes! I didn't just stop to think how it would be."

"Not that it would really matter about Les," the other continued, slipping quickly into her clothes. "Les is only a boy, after all."

"Oh, do you think so, Lou?"

"Why, of course. Leslie isn't more than twenty, if he's _that_," she concluded rather doubtfully, twisting up her dark hair and fixing it loosely in place.

"Oh, he is!" protested Hilda as vigorously as whisper-talk would allow.

Louise had turned away from the larger mirror in the dresser and was trying to focus the back of her head with the aid of a small hand mirror, as women do who are particularly concerned about appearing at their best. She looked across oddly at her sister, who in turn blushed, lowering her eyes.

"Well, then, as you say. You seem to be pretty sure."

"Les told me he was," cried Hilda, as though vaguely to shift some sort of responsibility.

Louise relinquished the mirrors and sat down on the edge of the bed for the purpose of tying her shoes. "Listen, Hilda," she said; "you ought to go straight back to sleep. It's only four o'clock. Papa would be mad if he heard us."

"Oh, but he can't," replied Hilda, with the air of one who knows very accurately the acoustic properties of the house in which she dwells.

"But Aunt Marjie might," the other suggested.

"Oh, she wouldn't tell. Aunt Marjie's a sport! Besides," she added, as though to place the matter altogether beyond dispute, "listen!"

Both girls did. They gazed in silence toward the three-quarters partition beyond which Aunt Marjie was established. It was quite true. There were unmistakable dulcet sounds from that direction. Aunt Marjie had warned them she was a heavy sleeper. She had not deemed it urgent to be more specific.

"Safe!" admitted Louise, with a sigh of mock-relief, adding, however: "Even so, you ought to go back to sleep."

Hilda dropped on to her pillow, seeming without comment about to comply. But she was right up again with an earnest question: "Where's he now?"

"Sh-h-h! He's waiting for me outside."

From its first paragraph, The Moth Decides establishes a narrator attentive to small, telling details. The story opens with Louise waking to a 'slight abrasion in the shingle roof through which morning blinked'—a sensory image that also hints at the cottage's imperfection. The old Dutch clock, with its 'wiry, indignant tick' and 'jerky, twanging spite,' becomes a character in its own right, marking time with an almost comic irritation. Jewell's prose lingers on such particulars, building a world where a roof leak or a clock's chime carries emotional weight.

A Voice That Shifts Between Lyricism and Irony

The narrative voice in the excerpts moves fluidly between lyrical introspection and dry, observational humor. When Louise lies in 'a sort of half pleasant lethargy,' the prose turns dreamy: 'Tears are like suave drugs: under their mystic persuasion life may assume the lovely softness of a mirage.' Yet the same narrator can undercut sentiment with a wry aside, as when describing the Rev. Needham's bench-building: 'The clergyman had perspired a great deal, and gone about with a dogged look. They were all mightily relieved when the task was at last completed. It seemed to simplify life.' This tonal range—from the near-poetic to the gently mocking—gives the novel a distinctive, unpredictable texture.

Internal Monologue and the Weight of Indecision

Jewell frequently enters characters' minds, rendering their doubts in a style that mimics the rhythm of anxious thought. Barry's walk is described as 'groping, indecisive,' each step a question: 'Whither? Why? How long? What is best? What is best? What is best?' The repetition and fragmentation convey a mind caught in a loop. Similarly, Miss Whitcom 'ponders past, present, future' before a wavy mirror, the distortion literalizing her uncertain self-image. These interior passages contrast with the more brisk, action-driven scenes, creating a rhythm of pause and movement that mirrors the characters' own hesitations.

Comic Relief Through Domestic Detail

Alongside the romantic tension, Jewell threads moments of everyday comedy that ground the story in the physical world. The crisis over missing raisins for an Indian meal pudding—resolved when the package is found 'lying out on the path where it had slipped from the grocer boy's basket'—is treated with mock gravity: 'The pudding was saved, but what a shock to one's whole system!' The hammock scene, where Mrs. Needham 'dropped fearlessly into the hammock' while her sister notes that 'none but newcomers possessed that sublime faith in hammock ropes,' adds a layer of gentle satire about resort life. These episodes prevent the novel from becoming overly solemn, balancing the characters' internal dramas with the trivial but genuine concerns of a summer household.

Readers should attend to how Jewell uses the cottage setting as a pressure cooker for emotion and comedy alike. The novel's pace alternates between slow, reflective passages and brisk, dialogue-driven scenes; noticing these shifts can illuminate the characters' inner conflicts. The title's metaphor—the moth deciding—suggests a creature drawn to light but vulnerable to burning, a tension that plays out in the characters' choices throughout the story.

That Dutch clock’s tick stayed with me long after the cottage faded, that wiry, indignant little heartbeat of ordinary life. It reminded me of how another book held a similar pulse, quiet and persistent. The Tracer of Lost Persons — Inside the Classic carries that same gentle insistence, like waiting for Eliza’s missing raisins to matter more than they should. Some stories simply linger.

There are no reviews for this eBook.

0
0 out of 5 (0 User reviews )

Add a Review

Your Rating *
There are no comments for this eBook.

Reader reflection

What was your reading experience?

Capture what you thought, learned, and would like to remember.

Your progress 0 / 10
1

What is your current status with this title?

2

How much did you enjoy the reading experience?

3

Would you recommend this book to another reader?

4

Did the language feel accessible?

Related eBooks