Frontier Boys on the Coast; Or, In the Pirate's Power — Key Ideas to Explore
Edition facts
Before opening Frontier Boys on the Coast; Or, In the Pirate's Power — Key Ideas to Explore, the edition data offers a quick orientation: 51,413 words, 3 hr 44 min estimated reading time, and 6 detected text sections.
The text analysis averages about 16.9 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 “Pirates -- Juvenile fiction,” 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
There was a strange softness in Captain Broom's tread like that of a padding panther, but his arms had the loose forward powerful swing of a gorilla's. Once he stepped into the chart house to look at something and the light of the lamp will give us a square look at him.
"That man a pirate!" you exclaim at the first glance; one who carried the blackest name along the coast as a smuggler and wrecker, who had brought cargoes of wretched slaves from Africa in the days before the Civil War and who had had more marvelous escapes than any man in the history of piracy with the exception of Black Jack Morgan! Impossible!
"Why that man is nothing but an old farmer," you exclaim in disappointment, when you see him. "He ought to be peddling vegetables on market day." But just wait.
True, Skipper Broom had come from a long line of New England farmers, hard, close-fisted, close-mouthed men. Young Broom had broken away from the farm and followed his bent for sea-faring, but to the end of his days, he kept his farmerlike appearance and he affected many of the traits of the yeoman which he found to be on more than one occasion a most useful disguise.
Let's look at him. That heavy winter cap pulled down on his grizzled head gives him a most "Reuben" like appearance. Jeans pants are thrust into heavy cowhide boots. The deadly gray eyes soft as granite have become red rimmed from fits of fury and hard through many scenes of coldly calculated cruelty. A most dangerous customer and I for one, and I ought to know, consider that he will have the better of Jim Darlington in their approaching encounter--and yet Jim is never beaten until the last shot is fired and so it is impossible for me to foretell how this contest of wit and daring will come out.
After examining his chart closely, Captain Broom crouched out through the door and on to the deck. He took one keen look towards the shore, then he approached the helmsman. "Git below, Bill. I'll fetch her in."
The helmsman relinquished the wheel gladly enough and under the Captain's masterful hand the Sea Eagle swung slowly around and pointed in towards the curving shore.
The dark form of the mate could be seen on the deck below waiting for the order that he knew must come soon. The crew of the Sea Eagle though subordinate enough were necessarily partners in Captain Broom's wicked enterprises so that the discipline was somewhat different than in ordinary vessels.
"Call 'em up, Mr. Haffen," roared the skipper to the mate. "It's chore time."
"Aye, aye, sir," replied Mr. Haffen.
The watch was called on deck and the dark forms of the men could be seen in the bow. The pulsing of the Sea Eagle had stopped and with scarcely a sound the anchor was dropped into the water.
The starboard boat was lowered into the water. First the mate, then Captain Broom and two men got in. The latter were Cales and Pete who pulled noiselessly at the oars. The boat glided quietly through the silent darkness towards the shore. The Captain was seated in the stern, his great bulk crouched forward, but there was nothing inert in his posture. His big hands clasped either side of the craft.
In a few minutes the boat grounded softly on the sand of the beach and all hands got ashore. Scarcely a word was spoken, though the cove was so hidden that there seemed to be no possible chance that the landing of the free-booters would be observed. However, Captain Bill Broom took no risk of being discovered. He had many enemies upon the coast and inland as well. Besides, the State of California had set a price upon his head.
Two thousand dollars was the reward for his capture, and so profitable an investment was apt to be realized on sooner or later by some enterprising citizen. So Captain Broom took due care whenever he went abroad not to attract undue attention.
This cove was a favorite lurking place of his when close pressed, where he would take refuge after some daring adventure upon the high seas, until such a time as the hubbub along the coast had died down. Sometimes he lay in hiding there, with the Sea Eagle screened behind the encircling cliffs, waiting like a black spider to rush out and capture some unsuspecting craft.
"Pick her up, boys," said the Captain, "you know where she belongs," pointing to the boat.
The novel begins not with the Frontier Boys but with a group of sailors in a dimly lit forecastle, speculating about their captain's plans. The first line—"What devilment has old Bill got on for tonight, Pete?"—immediately establishes a tone of criminal conspiracy and sets the crew's rough, colloquial speech. The men discuss a "passel of four boys" and the possibility of kidnapping for ransom, introducing the central threat before the protagonists appear. This opening strategy positions the reader as an eavesdropper, learning about the boys through the pirates' scheming rather than through direct introduction.
Pirates as the Primary Lens
The early chapters focus almost exclusively on the pirate crew, with the Frontier Boys mentioned only as targets. The sailors' dialogue reveals their world: a scarred sea chest, a dim forecastle, and a captain named Bill Broom who is "lookin' fer a wreck" or perhaps the boys. The men refer to kidnapping as a familiar trade—"Hold 'em for ransom, I suppose"—and discuss a tip from "Cap'n Brinks" who landed in San Diego. This sustained attention to the antagonists creates a sense of menace and mystery, as the reader waits for the boys to appear. The pirates' perspective dominates the opening, making the eventual introduction of Jim, Joe, and Tom Darlington a delayed payoff.
Treasure and the Division Scene
A later excerpt depicts the pirates dividing treasure from belts and pouches: diamonds, rubies, gold ingots, and a girdle of "golden disks linked with strings of rubies and sapphires." The captain suspects one boy—"that long-legged, black-haired guy"—of hiding part of his share, noting a cut in the belt. The scene shifts to the forecastle where Jack Cales displays his handful of jewels on a sea chest, illuminated by a "broad band of sunshine" that cuts through the gloom. The narrator briefly invokes Rembrandt before self-correcting: "pardon, kind reader, I forgot for a moment, this is a simple narrative of Adventure." This aside reveals the author's awareness of his own style, blending vivid description with a wink at the reader.
The Author's Narrative Interjections
Throughout the excerpts, the narrator occasionally steps forward with direct addresses or self-conscious remarks. In the treasure scene, the comparison to Rembrandt is immediately retracted, signaling a deliberate choice to prioritize action over artistic pretension. This technique appears elsewhere: the narrator describes the sailors as "a typical group and not to be matched for picturesqueness anywhere," then undercuts the description with the Rembrandt apology. These interjections create a playful tension between the adventure genre's conventions and the author's desire to elevate the scene. Readers may note how these asides shape the tone, offering a glimpse of the writer behind the tale.
Setting and Atmospheric Details
The excerpts emphasize physical settings that evoke both confinement and danger. The forecastle is "dimly lighted" with a "steep ladder" and "dingy gloom," while the treasure scene uses light dramatically: a "golden swath" falls across the chest, illuminating faces and jewels. The captain's cabin contains the glittering haul, and the sea chest becomes a focal point for the crew's greed. Later, the narrative mentions "the face of the cliff" in a caption, hinting at coastal landscapes. These details ground the story in a tangible world of ships, caves, and shores, though the excerpts do not reveal how the boys interact with these environments. The setting functions as more than backdrop—it shapes the pirates' actions and the story's tension.
Readers approaching Frontier Boys on the Coast for the first time should note that the narrative delays the protagonists' entrance, instead building suspense through the pirates' perspective. The treasure division scene and the author's self-aware asides offer clues to the novel's tone—a mix of straightforward adventure and occasional stylistic flourish. Pay attention to how the setting and dialogue establish the stakes before the boys take center stage.
That gray afternoon, the rain tapping the window like the pirate crew’s impatient fingers, I kept turning back to how Roosevelt’s narrator winked at his own plot. His treasure lists and betrayals felt less like adventure than a shared secret. Later, searching for that same sly voice, I stumbled upon The Two Supercargoes; Or, Adventures in Savage Africa — Edition Insights, and the afternoon stretched, quietly, into evening.
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