Ruth Fielding Homeward Bound; Or, A Red Cross Worker's Ocean Perils — Reading Companion

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Emerson, Alice B. Project Gutenberg 2011 Not confirmed
Airships -- Juvenile fiction; World War, 1914-1918 -- Juvenile fiction; Fielding, Ruth (Fictitious character) -- Juvenile fiction; Hostages -- Juvenile fiction Readers of public-domain and historical texts
Project Gutenberg digital edition en

Edition facts

Words 47,709
Reading time 208 min
Text sections 5

Before opening Ruth Fielding Homeward Bound; Or, A Red Cross Worker's Ocean Perils — Reading Companion, the edition data offers a quick orientation: 47,709 words, 3 hr 28 min estimated reading time, and 5 detected text sections.

The text analysis averages about 14.0 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 “Airships -- Juvenile fiction,” connecting these edition facts with the source record’s subject description.

This editorial note examines how the opening, middle, and later excerpts of Ruth Fielding Homeward Bound guide a first reading, focusing on the shift from domestic tea-time to aerial combat and the use of sensory details.
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Editorial Edition Score 4.7/5

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  • 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.

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Read the Text

something like awe. While Ruth’s tea-urn bubbled cozily three pair of very bright eyes were bent above a tiny, iridescent spark which adorned the “heart finger” of the plumper girl’s left hand.

There is something about an engagement diamond that makes it sparkle and twinkle more than any other diamond. You do not believe that? Wait until you wear one on the third finger of your left hand yourself!

These three girls, who owned all the rings and other jewelry that was good for them, continued to adore this newest of Jennie Stone’s possessions until the tea water boiled over. Ruth Fielding arose with an exclamation of vexation, and corrected the height of the alcohol blaze and dropped in the “pinch” of tea.

It was mid-afternoon, the hour when a cup of tea comforts the fagged nerves and inspires the waning spirit of womankind almost the world over. These three girls crowded into Ruth Fielding’s little cell, even gave up the worship of the ring, to sip the tea which the hostess soon poured into the cups.

“The cups are nicked; no wonder,” sighed Ruth. “They have traveled many hundreds of miles with me, girls. Think! I got them at Briarwood——”

“Dear old Briarwood Hall,” murmured Jennie Stone.

“You’re in a dreadfully sentimental mood, Jennie,” declared Helen Cameron with some scorn. “Is that the way a diamond ring affects all engaged girls?”

“Oh, how fat I was in those days, girls! And how I did eat!” groaned the girl who had been known at boarding school as “Heavy Stone,” and seldom by any other name among her mates.

“And you still continue to eat!” ejaculated Helen, the slimmest of the three, and a very black-eyed girl with blue-black hair and a perfect complexion. She removed the tin wafer box from Jennie’s reach.

“Those are not real eats,” complained the girl with the diamond ring. “A million would not add a thousandth part of an ounce to my pounds.”

“Listen to her!” gasped Helen. “If Major Henri Marchand could hear her now!”

“He is a full colonel, I’d have you know,” declared Jennie Stone. “And in charge of his section. In _our_ army it is the Intelligence Department—Secret Service.”

“That is what Tom calls the ‘Camouflage Bureau.’ _Colonel_ Marchand has a nice, sitting-down job,” scoffed Helen.

“Colonel Marchand,” said Ruth Fielding, gravely, “has been through the enemy’s lines, and with his brother, the Count Allaire, has obtained more information for the French Army, I am sure, than most of the brave men belonging to the Intelligence Department. Nobody can question his courage with justice, Jennie.”

“_You_ ought to know!” pouted the plumper girl. “You and my colonel have tramped all over the French front together.”

“Oh, no! There were some places we did not go to,” laughed Ruth.

“And just think,” cried Helen, “of her leaving us here in this hospital, Heavy, while she went off with your Frenchman to look for Tom, my own brother! And she would not tell me a word about it till she was back with him, safe and sound. This Ruthie Fielding of ours——”

“Tut, tut!” said Ruth, shaking her chum a little, and then kissing her. “Don’t be jealous, Helen.”

“It’s not I that should be jealous. It is Heavy’s friend with whom you went over to the Germans,” declared Helen, tossing her head.

“And Jennie had not even met Major Marchand—_that was_! ‘Colonel,’ I should say,” said Ruth. “Oh, girls! so much has happened to us all during these past few months.”

“During the past few years,” said the plump girl sepulchrally. “Talking about your cracked and chipped china,” and she held up her empty cup to look through it. “_I_ remember when you got this tea set, Ruthie. Remember the Fox, and all her chums at Briarwood, and how mean we treated you, Ruthie?”

“Oh, _don’t_!” exclaimed Helen. “I treated my Ruthie mean in those days, too—sometimes.”

“Goodness!” drawled their friend, who was in the uniform of the Red Cross worker and was a very practical looking, as well as pretty, girl. “Don’t bring up such sad and sorrowful remembrances. This tea is positively going to your heads and making you maudlin. Come! I will give you a toast. You must drink your cup to it—and to the very dregs!”

“‘Dregs’ is right, Ruth,” complained Jennie, peering into her cup. “You never will strain tea properly.”

“Pooh! If you do,” scoffed Helen, “you never have any leaves left with which to tell your fortune.”

The first chapter, “Tea and a Toast,” opens with three girls gathered around a tea-urn in Ruth Fielding’s “little cell,” admiring Jennie Stone’s engagement diamond. The cozy, intimate scene—complete with nicked cups and bubbling water—establishes a domestic, conversational tone. Yet the title and catalog subjects hint at ocean perils and war, creating a tension between the quiet interior and the external danger that will soon intrude.

From Tea-Urn to Zeppelin

The opening excerpt focuses on friendship and small details: the diamond’s sparkle, the tea water boiling over, and Ruth’s sigh over nicked cups. This domesticity contrasts sharply with the later excerpt, where Tom Cameron faces a Zeppelin attack. The transition from tea-time to aerial battle is abrupt, suggesting the novel will juxtapose personal relationships with wartime violence. Readers should note how the early emphasis on objects—the ring, the tea set—foreshadows later attention to machinery like the airplane and Zeppelin.

Sensory Immersion in Combat

The middle excerpt immerses the reader in sound and sensation: the “thuttering roar” of motors, the “shrieking” wind, and the “red-hot iron” searing Tom’s cheek. The narrative uses physical details—blood running through Stillinger’s fingers, a cut stay twanging—to convey chaos. Unlike the opening’s calm dialogue, this section relies on rapid, sensory prose. First-time readers may observe how the author shifts from spoken exchanges to visceral description, heightening the stakes.

Limited Perspective and Uncertainty

Tom’s viewpoint dominates the combat scene, but his knowledge is restricted: he “did not know the first thing about driving an airplane” and cannot hear the German commander’s orders. This limited perspective creates suspense and aligns the reader with Tom’s helplessness. The excerpts do not reveal the outcome of the attack, leaving the fate of the airplane and its crew uncertain. Readers should expect that later chapters may resolve this cliffhanger or introduce new perils.

Recurring Motifs of Peril and Rescue

The catalog subjects list “Hostages” and “World War, 1914-1918,” and the title promises “Ocean Perils.” The excerpts show two distinct threats: a potential Zeppelin raid and the implied danger of being adrift at sea (suggested by chapter titles like “Adrift” and “The Wreck”). The opening’s safe, female space contrasts with the male-dominated aerial combat, hinting that Ruth and her friends may later face their own dangers. The motif of rescue—perhaps by Tom or others—may unify the plot.

Readers approaching this book for the first time should attend to how the author balances intimate character moments with large-scale war action. The excerpts suggest a narrative that moves between personal stakes (a friend’s engagement) and collective peril (a Zeppelin attack). The incomplete combat scene invites speculation about survival and reunion, while the catalog’s mention of “homeward bound” hints at a journey’s end.

There’s a moment in Ruth Fielding Homeward Bound where the familiar calm of tea-time gives way to something sharper, and I found myself remembering the quieter longing in The Pearl of Lima: A Story of True Love — Story, Setting & Ideas—how both stories hold that ache of distance, whether across an ocean or within a heart, before the world turns unexpectedly loud.

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