Jane Lends A Hand — A Reader’s Guide
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For Jane Lends A Hand — A Reader’s Guide, the stored edition analysis reports 74,546 words, 5 hr 25 min estimated reading time, and 21 detected text sections.
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Project Gutenberg metadata also associates the work with “Artists -- Juvenile fiction,” connecting these edition facts with the source record’s subject description.
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Read the Text
en, the little bed-rooms under the irregular roof of the old house were never heated until the bitterest days of mid-winter. _His_ children were not, said he, to be softened and rendered unfit to endure the various hardships of life by pampering. His wife, the jolly comfort-loving Gertrude, sometimes confided privately to Grandmother Winkler that she thought it was too hard on the children to have to leave their warm beds, and dress in rooms where the ice formed a film in the water pitchers, and in which they could see their breath; but when anyone in the Lambert household had ideas contrary to those of the master, they did not advertise them publicly.
Among Mr. Lambert’s pet aversions were Unpunctuality and Laziness, and no one had better reason to know this than Jane. Nevertheless, she infringed upon the iron-bound rules of the household every day of her life, and cheerfully paid her penalties with a sort of serene stoicism. She had inherited from her placid, happy-tempered mother a vigorous dislike of physical discomfort, and a calm way of doing what she wanted, and then good-naturedly paying the piper as circumstances demanded.
In the adjoining room, the twins, Wilhelmine (or Minie) and Lottie could be heard chattering and laughing in their fresh, sweet voices. Shivering, but rosy and wide-awake, the two little girls were dressed in their warm woolen frocks inside of ten minutes. Since they were six years old, Mr. Lambert had permitted no one to help them but themselves; and so, with their little cold red fingers they buttoned each other’s dress and plaited each other’s smooth, shining yellow hair; then set to work making up their wooden beds, sweeping, dusting, and putting their room to rights.
At half-past six came the summons to breakfast, which had already been announced by appetizing odors of porridge and frying bacon.
Little Minie, running past her sister’s door, glanced in, and stood transfixed with horror at the sight of Jane rolled up like a dormouse, and still dozing peacefully.
A head covered with curly, reddish hair rose above the mountain of bed-clothes; a pair of sleepy eyes blinked at the little girl.
“Um.” A yawn. “What time is it?”
“It’s _half-past thix_, and breakfath’s all ready, and you’ll be late _again_, Jane. Whatever will Papa thay!” This was Lottie, who never failed to join her twin on any occasion of grave importance. The two plump, rosy-cheeked little girls, with their stiffly starched white pinafores, and with their yellow pig-tails sticking out at the sides of their heads, were as much alike as a pair of Dresden ornaments. They stood now, hand-in-hand, their china-blue eyes round with reproof and dismay, gazing at lazy Jane.
“I’ve got a—a headache,” announced Jane unblushingly, “I don’t think I’ll go to school to-day.”
“O-oh, Jane!” remonstrated the twins in chorus.
“Well, I haven’t exactly got one _now_,” said Jane, “but I would have if I got up too suddenly. I’ve been studying too hard. That’s what.”
“Ooooh, Jane!” The twins covered their rosy mouths with their hands, and tittered.
“You don’t know anything about it,” said Jane, tartly. She reflected for a moment. On second thought the plea of a headache seemed weak; furthermore, if it were accepted the chances that Mr. Lambert would recommend a bitter dose and a dull day in the house had to be considered; for the stern parent had a certain grim humour of his own, and was not easily to be imposed on even by Jane’s fertile invention.
“Well, then put down the windows, Minie—like a good little darling, and I’ll be down-stairs in three minutes. The day after to-morrow’s Saturday anyhow.” And encouraged by this cheerful thought, Jane at length prepared to rise.
Her idea of “three minutes” was astonishingly inaccurate. She dawdled into her clothes, interrupted by fits of abstraction, during which, with one foot on the chair, and the button-hook thrust through the button-holes of her sturdy shoes, she stared out of the uncurtained window.
The old house, a rambling two storey building, half-wood, half-brick, abounding in gables and dormer windows which gave it its quaintly picturesque outline, fronted on the busiest street of the industrious but placid little town.
For more than a hundred years the Winkler family had held there a certain calm, unassailable position; rightly theirs as the unfailing reward of industry, honesty, and the other simple, respectable virtues of conscientious, self-respecting citizens and tradesfolk.
One hundred and thirty years ago, to be exact, old Johann Winkler had settled there, and had founded what deserves the name of an Institution. Certainly, it was the most wonderful bakeshop in the world.
Shirley Watkins' Jane Lends A Hand (1923) opens with a precise, sensory description of an October morning: Jane, still in bed, sniffs the frosty air and burrows into a patchwork quilt. The narrator immediately establishes a contrast between Jane's 'strong disinclination to leaving her cosy bed' and her father's Spartan rules against laziness and unpunctuality. This early passage sets up a pattern of gentle rebellion—Jane 'cheerfully paid her penalties with a sort of serene stoicism'—and introduces a narrative voice that is both observant and lightly ironic. The prose moves from intimate domestic detail to broader family dynamics, a shift in scale that recurs throughout the excerpts.
Narrative Voice and Ironic Distance
The narrator of Jane Lends A Hand maintains a consistent, slightly amused tone, even when describing conflict. Mr. Lambert's 'pet aversions' are listed with a knowing wink; his wife's private dissent is noted but not dramatized. This ironic distance allows the reader to see the gap between the family's stated rules and Jane's actual behavior. The voice is also economical: details like 'the ice formed a film in the water pitchers' do double duty, conveying both physical discomfort and the father's rigidity. The narrator rarely judges outright, instead letting actions and dialogue speak. When Jane later meddles in a romantic tangle, Paul calls her 'about the coolest —rascal I ever met,' a line that captures both his exasperation and the narrator's implicit approval of Jane's audacity.
Pacing: From Domestic Stillness to Social Frenzy
The excerpts reveal two distinct paces. Early chapters linger on morning routines: Jane's slow awakening, the twins dressing 'inside of ten minutes,' the cold bedrooms. The prose is unhurried, matching the rhythm of a large household. Later scenes accelerate sharply. At the New Year's party, the narrative becomes crowded with action: 'wild tooting of horns,' 'showers of confetti,' and a rapid exchange of dialogue as Jane manipulates Mr. Sheridan into offering Lily a ride. The shift is marked by shorter sentences and a flurry of verbs—'worked his way,' 'strode off,' 'clamored.' This change in tempo mirrors Jane's own transition from passive observer to active instigator. The party sequence, with its overlapping conversations and quick entrances, contrasts with the quiet, frosty morning of the opening.
Dialogue as a Tool for Character and Plot
Watkins uses dialogue to advance plot and reveal character without lengthy exposition. Jane's exchange with Paul at the party is a case in point: her anxious confession ('I don't know what to do!') is met with his mocking advice to 'hike for the tall timber.' His laughter and her immediate decision to 'go down' show their contrasting temperaments—Paul cynical, Jane impulsive. Later, Jane's public remark about Mr. Buchanan's departure is a calculated piece of misdirection, delivered 'in a voice that it was impossible for Mr. Sheridan not to hear.' The dialogue here is layered: Jane speaks to Mr. Webster but aims her words at Sheridan. This indirect communication is a hallmark of the novel's social maneuvering. Even minor lines, like Sam Webster's 'I've got the sleigh already hitched up' (which is false), reveal character through bluff and bluster.
Readers approaching Jane Lends A Hand should attend to the interplay between Jane's serene exterior and her active, sometimes scheming, interior life. The novel's pace varies considerably—from the slow, sensory opening to the rapid-fire social comedy of the party—and these shifts often signal a change in Jane's role from observer to participant. The dialogue, especially in scenes of negotiation and misdirection, rewards close attention. Watkins' narrative voice, with its quiet irony and fondness for understatement, gives the story a lightness that belies its serious themes of family obligation and social expectation.
Reading Shirley Watkins' brisk dialogue in Jane Lends A Hand reminded me of another afternoon spent with a travel-worn heroine, her worries as much about people as perils. That same tug between quiet moments and sudden motion lives in Ruth Fielding Homeward Bound; Or, A Red Cross Worker's Ocean Perils — Reading Companion, though there the ocean does more of the talking. Funny how old books keep each other company.
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