The Wishing Moon — Context and Discussion

(0 User reviews)   376
In Category - Romantic Drama
Fillmore, Louise Dutton, 1885-1951, Shinn, Everett, 1876-1953 [Illustrator] Project Gutenberg 2010 Not confirmed
City and town life -- Fiction; Love stories; New England -- Fiction; Rich people -- Fiction; Social classes -- Fiction Readers of public-domain and historical texts
Project Gutenberg digital edition en

Edition facts

Words 73,355
Reading time 319 min
Text sections 7

The Wishing Moon — Context and Discussion can be approached with a clearer sense of reading commitment from its source measurements: 73,355 words, 5 hr 19 min estimated reading time, and 7 detected text sections.

The text analysis averages about 14.2 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 “City and town life -- Fiction,” connecting these edition facts with the source record’s subject description.

An editorial note on Louise Dutton Fillmore's 1916 novel, focusing on authorial choices in diction, dialogue, and description as seen in excerpts from the opening and a tense carriage scene.
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

Father was dressed, and waiting, shut in the library. Mother was dressing in her big corner room upstairs, with all the electric lights lighted. The little girl could see them, if she turned her head, but mother was very far away, in spite of that, for her door was locked, and you could not go in. You could not watch her brush her long, wonderful hair, or help her into her evening gown. Mother's evening gown was black this summer, with shiny spangles--a fairy gown. Mother had to be alone while she dressed, because she was going to the Everards'.

There were two Everards, the Colonel, who was old because his hair was white, and his wife, who wore even more beautiful clothes than mother. She had heard her father say that the Colonel had made the town, and she had heard Norah, the cook, say that he owned the town. She had an idea that these two things were not quite the same, though they sounded alike, for father was fond of the Colonel, and Norah was not. At any rate, he was president of the bank--father and Norah agreed about that--and he lived in a house at the edge of the town, in what used to be a part of Larribees' woods. Father used to go Mayflowering there, but now nobody could.

The house was ugly, with things sticking out all over it, towers and balconies and cupolas, and it was the little girl's twin. She was born the year the Everards settled in Green River.

"And you're marked with it," Norah said, in one of their serious talks, when Mollie, the second girl, was out, and the two had the kitchen to themselves. Norah was peeling apples for a pie, and allowing her unlimited ginger-snaps, straight from the jar. "Marked with it, Miss Judy."

"That house, and what goes on in it."

"You'll know soon enough."

"I'm not marked with it. I've got a birthmark, but it's a strawberry, on my left side, like the princesses have in the fairy tales."

"You are a kind of a princess, Miss Judy."

"Is that a bad thing to be, Nana?"

"It's a lonesome thing."

"My strawberry's fading. Mother says it will go away."

"It won't go away. What we're born to be, we will be, Miss Judy----. Bless your heart, you're crying, with the big eyes of you. What for, dear?"

"I don't know. I don't want to be a princess. I don't want to be lonesome. I hate the Everards."

"Well, there's many to say that now, and there'll be more to say it soon." Norah muttered this darkly, into her yellow bowl of apples, but Judith heard: "Here, eat this apple, child. You musn't hate anybody."

"I do. I hate the Everards."

Queer things came into your head to say when you were talking with Norah, who had an aunt with the second sight, and told beautiful fairy tales herself, and even believed in fairies; Judith did not. The Everards gave Judith and no other little girl in town presents at Christmas, and invited Judith and no other little girl to lunch. They had a great deal to do with her trouble, her serious trouble, which she would not discuss even with Norah. But she did not really hate the Everards--certainly not to-night. She was too happy.

Judith was going out to hang May-baskets.

So was every other little girl in town who wanted to, and it was a wonderful thing to be doing to-night. It was really May night, by the weather as well as the calendar--the kind of night that Norah's fairies meant should come on the first of May: warm, with a tiny chill creeping into the air as the dark came, a pleasant, shivery chill, as if there might really be fairies or ghosts about. It was still and clear. One star, that had just come up above the horse-chestnut tree, looked very small and bright and close, as if it had climbed up into the sky out of the dark, clustering leaves of the tree.

This was the star that Judith usually wished on, but she could wish on the moon to-night; Norah had told her so; wish once instead of three nights running, and get her wish whether she thought of the red fox's tail or not. The new moon of May was a wishing moon.

A wishing moon! The small white figure on the steps cuddled itself into a smaller heap. Judith sighed happily and closed her eyes. She was going with the others. She had her wish already.

The novel opens with an eleven-year-old Judith Devereux Randall sitting on the front steps of the Randall house, described in precise, almost clinical detail: her white skirts fluffed, hands clasped over thin knees, silk-stockinged legs cuddled together. The narrator notes her bobbed hair was the only one in Green River, a detail that signals both individuality and social scrutiny. The prose is measured, yet the child's inner excitement is palpable—she feels happier than in all her eleven years. This contrast between external stillness and internal intensity recurs throughout the excerpts.

Diction and the Weight of Social Detail

The author's diction in the opening chapter establishes a world of precise social markers. The Randalls do not have supper; they dine at night, like the Everards. The Everards are introduced with a telling asymmetry: the Colonel is old because his hair is white, while his wife wears even more beautiful clothes than mother. Such details are not merely decorative; they encode the hierarchies and anxieties of Green River. The little girl's mother dresses behind a locked door, inaccessible, her evening gown black with shiny spangles—a fairy gown. The locked door and the fairy gown together suggest both allure and distance, a pattern that may inform Judith's later relationships.

Dialogue as a Weapon in the Carriage Scene

The extended carriage scene between Judith and Neil is a masterclass in dialogue as psychological combat. The voices are low-keyed and hurrying, breaking off abruptly. The exchange is built on repetition and contradiction: Judith says I hate you seven times, each iteration more desperate. Neil counters with dry, hard laughter and the flat assertion I don't care. The dialogue is stripped of exposition; the reader must infer the history and stakes from the rhythm of accusation and denial. The author uses short, breathless sentences to convey physical struggle, and the silences between speeches are described as cruel and tense.

Description of Physical Struggle and Emotional Ambivalence

The description of the struggle in the buggy is deliberately clumsy and blind. The two figures sway aimlessly, their movements sudden and uncoordinated. The narrator notes that the struggle is like most really significant ones: sudden and clumsy and blind. The physicality is rendered with restraint—pinioned arms, panting sounds, little sobs—but the emotional stakes are high. After the struggle ends, Judith's arms find their way to Neil's shoulders, a gesture that contradicts her words. The author leaves the ambivalence unresolved, trusting the reader to weigh the whispered yes against the embracing arms.

Recurring Motifs of Light, Shadow, and Silence

Throughout the excerpts, light and shadow function as emotional barometers. In the opening, the little girl sees mother's electric lights but feels her distance. In the carriage, the two faces are alike in the gloom, white and angry. The shadow figures sway and merge, and the final silence is broken only by a long, tired sigh. The author uses these visual cues to externalize internal states: the fugitive, dancing light in Judith's eyes as a child contrasts with the panting, tearful darkness of the later scene. Silence, too, is weighted—the cruel, tense silence before Neil's laugh, and the exhausted silence after the struggle.

These excerpts reveal an author attentive to the friction between social performance and private emotion. The prose is economical, yet every detail—the locked door, the bobbed hair, the dry laugh—carries significance. Readers may find that the novel's interest lies less in plot than in the precise calibration of its characters' inner lives against the constraints of their world. The carriage scene, in particular, rewards close attention to its rhythmic shifts between speech and silence.

I’ve often mused how Fillmore’s careful diction in The Wishing Moon—that tense carriage scene, every word held like a held breath—finds a quieter echo in The Lady Paramount — Context and Discussion. Both writers trusted restraint over flourish. Their sentences feel like old friends, leaving room for the reader to simply sit alongside them. A gentle kinship, that. Years of shelving taught me to recognize it.

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

How will you remember this book?

Save your reaction, strongest insight, and memorable passage.

Your progress 0 / 10
1

What is your current status with this title?

2

Was reading this book enjoyable?

3

Would you recommend this book to another reader?

4

What was the reading difficulty like?

Related eBooks