Danger at the Drawbridge — Reading Companion

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Wirt, Mildred A. (Mildred Augustine), 1905-2002 Project Gutenberg 2010 Not confirmed
Adventure and adventurers -- Juvenile fiction; Mystery and detective stories; Parker, Penny (Fictitious character) -- Juvenile fiction; Women detectives -- Juvenile fiction Readers of public-domain and historical texts
Project Gutenberg digital edition en

Edition facts

Words 45,539
Reading time 198 min
Text sections 7

The catalog record for Danger at the Drawbridge — Reading Companion provides practical reading context through 45,539 words, 3 hr 18 min estimated reading time, and 7 detected text sections.

The text analysis averages about 11.0 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 “Adventure and adventurers -- Juvenile fiction,” connecting these edition facts with the source record’s subject description.

Penny Parker's investigation of a missing bridegroom leads her to a forbidden estate, a drawbridge guarded by a watchman, and a mysterious lily pool, in this 1940 juvenile mystery.
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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

Weems thought it wasn't a civilized way to travel."

"I should think not." The corners of Mr. Parker's mouth twitched slightly as he poured coffee from the silver pot. "That lift was built to carry breakfast trays, but not in combination with athletic young ladies."

"What a bore, this business of growing up," sighed Penny. "You can't be natural at all."

"You seem to manage rather well with all the restrictions," her father remarked dryly.

Penny twisted her neck to gaze at her reflection in the dresser mirror beyond the footboard of the big mahogany bed.

"I won't mind growing up if only I'm able to develop plenty of glamour," she said speculatively. "Am I getting any better looking, Dad?"

"Not that I've noticed," replied Mr. Parker gruffly, but his gaze lingered affectionately upon his daughter's golden hair. She really was growing prettier each day and looked more like her mother who had died when Penny was a little girl. He had spoiled her, of course, for she was an only child, but he was proud because he had taught her to think straight. She was deeply loyal and affectionate and those who loved her overlooked her casual ways and flippant speech.

"What happened to the paper boy this morning?" Mr. Parker asked between bites of buttered toast.

"It isn't time for him yet, Dad," said Penny demurely. "You always expect him at least an hour early."

"First edition's been off the press a good half hour," grumbled the newspaper owner. "When I get back to the _Star_ office, I'll see that deliveries are speeded up. Just wait until I talk with Roberts!"

"Haven't you been doing a pretty strenuous job of running the paper right from your bed?" inquired Penny as she refilled her father's cup. "Sometimes when you talk with that poor circulation manager I think the telephone wires will burn off."

"So I'm a tyrant, am I?"

"Oh, everyone knows your bark is worse than your bite, Dad. But you've certainly not been at your best the last few days."

Mr. Parker's eyes roved about the luxuriously furnished bedroom. Tinted walls, chintz draperies, the rich, deep rug, were completely lost upon him. "This place is a prison," he grumbled.

For nearly a week the household had been thrown completely out of its usual routine by the editor's illness. Overwork combined with an attack of influenza had sent him to bed, there to remain until he should be released by a doctor's order. With a telephone at his elbow, Mr. Parker had kept in close touch with the staff of the _Riverview Star_ but he fretted at confinement.

"I can't half look after things," he complained. "And now Miss Hilderman, the society editor, is sick. I don't know how we'll get a good story on the Kippenberg wedding."

Penny looked up quickly. "Miss Hilderman is ill?"

"Yes, DeWitt, the city editor, telephoned me a few minutes ago. She wasn't able to show up for work this morning."

"I really don't see why he should bother you about that, Dad. Can't Miss Hilderman's assistant take over the duties?"

"The routine work, yes, but I don't care to trust her with the Kippenberg story."

"Is it something extra special, Dad?"

"Surely, you've heard of Mrs. Clayton Kippenberg?"

"The name is familiar but I can't seem to recall--"

"Clayton Kippenberg made a mint of money in the chain drug business. No one ever knew exactly the extent of his fortune. He built an elaborate estate about a hundred and twenty-five miles from here, familiarly called _The Castle_ because of its resemblance to an ancient feudal castle. The estate is cut off from the mainland on three sides and may be reached either by boat or by means of a picturesque drawbridge."

"Sounds interesting," commented Penny.

"I never saw the place myself. In fact, Kippenberg never allowed outsiders to visit the estate. Less than a year ago a rumor floated around that he had separated from his wife. There also was considerable talk that he had disappeared because of difficulties with the government over income tax evasion and wished to escape arrest. At any rate, he faded out of the picture while his wife remained in possession of _The Castle_."

"And now she is marrying again?"

"No, it is Mrs. Kippenberg's daughter, Sylvia, who is to be married. The bridegroom, Grant Atherwald, comes from a very old and distinguished family."

"I don't see why the story should be so difficult to cover."

"Mrs. Kippenberg has ruled that no reporters or photographers will be allowed on the estate," explained Mr. Parker.

"That does complicate the situation."

The opening chapter introduces Penny Parker through a domestic scene that quickly reveals her mischievous streak: she tries to ride the kitchen dumbwaiter rather than climb the stairs. This small rebellion, met with the housekeeper's exasperation, establishes Penny as a resourceful and slightly reckless protagonist. The dialogue is brisk and peppered with playful banter, setting a lighthearted tone that contrasts with the mystery to come.

By the end of the first chapter, Penny has accepted an assignment from her father, a newspaper editor, to investigate a story. The reader is thus primed for a plot driven by journalistic curiosity and independent action, with Penny's home life serving as a springboard into adventure.

A Reporter’s Instinct and a Missing Bridegroom

The early chapters establish Penny’s method: she gathers information through observation and casual conversation. When she learns of a bridegroom who vanished on his wedding day, she does not wait for official permission. Instead, she enlists her friend Louise and a local boy with a rowboat to reach the Kippenberg estate, which is cut off by a drawbridge guarded by a watchman. The text emphasizes Penny’s persistence—she notes a press car from a rival newspaper and deliberately avoids the bridge, choosing a circuitous river route.

Key details emerge through dialogue: the missing man is Grant Atherwald, and Penny’s father mentions a former associate named Aaron Dietz. These names are dropped casually, as if the reader is expected to keep track. The excerpts do not reveal whether these leads are red herrings or genuine clues, but the pattern of overheard conversations and secondhand information is established early.

The Drawbridge as Obstacle and Symbol

The drawbridge is not merely a setting but a recurring barrier. In the excerpts, it is mentioned in chapter titles and described as a physical and social divide: reporters are turned away, police visit but gain no access, and Penny must rely on a boy’s boat to cross the river. The bridge is guarded by an old watchman who offers a dollar to anyone who will take him across—a detail that suggests he is either complicit or merely lazy.

The structure of the narrative mirrors this obstacle: the chapters are short, and each ends with a question or a new complication. For instance, after Penny and Louise successfully land on the estate, the reader is left wondering what they will find. The bridge thus functions as a threshold that Penny must repeatedly cross, both literally and figuratively, as she moves from the known world of home and newspaper office into the unknown territory of the Kippenberg property.

Voice and Period Detail

The prose is efficient and colloquial, with dialogue carrying much of the exposition. Penny’s speech is marked by a cheerful irreverence: she tells Louise she “tosses off germs like a duck shedding water,” and she refers to her car as “battered.” The housekeeper’s scolding (“I declare, I don’t know when you’ll grow up”) reinforces the generational tension common in juvenile fiction of the era.

Period details anchor the story in 1940: an automatic lift, a press car, a radio playing too loud, and a rowboat as a primary means of transport. The text does not romanticize these elements; they are simply part of the characters’ everyday world. The author, Mildred A. Wirt, was a prolific writer of series fiction, and the style here is consistent with the Penny Parker series: fast-paced, with a focus on action and dialogue rather than interior reflection.

Clues Planted for the Reader

The excerpts scatter several clues without explanation. Penny overhears a conversation about a boatman and a man named Aaron Dietz, but the context is unclear. She also mentions a “forbidden pool” and a “stone tower,” which appear in chapter titles. The reader is invited to speculate: Is the missing bridegroom connected to the Kippenberg estate? What is the significance of the lily pool?

The narrative does not provide answers within the excerpts, but it rewards attention to repeated motifs. The drawbridge, the boat, and the river are mentioned in multiple chapters, suggesting they will be central to the resolution. Penny’s method—sneaking, questioning, and following leads—is modeled for the reader, who can attempt to solve the mystery alongside her. The story’s structure, with its cliffhanger chapter endings, encourages reading straight through.

Readers approaching Danger at the Drawbridge for the first time will benefit from noting how the author parcels out information. Pay attention to names mentioned in passing, and observe how Penny’s access to places is repeatedly blocked—then circumvented. The story moves quickly, and the excerpts suggest that the drawbridge itself may hold the key to the mystery. Trust Penny’s instincts, but keep your own list of suspects.

There’s something about that old drawbridge and the lily pool that made me think of quieter afternoons, the way a mystery can sit with you long after the last page turns. The Tremendous Event — Edition Insights held a similar softness for me, a lingering sense of place rather than just plot.

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