The Clock Strikes Thirteen — Inside the Classic
Edition facts
The source record for The Clock Strikes Thirteen — Inside the Classic measures this digital text at 45,697 words, 3 hr 19 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.
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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.
Read the Text
There were no fire fighters on the scene, in fact the only person visible was a woman in dark flannel night robe, who stood silhouetted in the red glare. As Penny and Mr. Parker reached her side, she stared at them almost stupidly.
"We'll lose everything," she said tonelessly. "Our entire crop of melons is inside the barn, packed for shipment. And my husband's new truck!"
"Have you called a fire company?" the editor asked.
"I've called, but it won't do any good," she answered. "The barn will be gone before they can get here."
With a high wind whipping the flames, Penny and her father knew that the woman spoke the truth. Already the fire had such a start that even had water been available, the barn could not have been saved.
"Maybe I can get out the truck for you!" Mr. Parker offered.
As he swung open the barn doors, a wave of heat rushed into his face. Coughing and choking, he forced his way into the smoke filled interior, unaware that Penny was at his side. Seeing her a moment later, he tried to send her back.
"You can't get the truck out without me to help push," she replied, refusing to retreat. "Come on, we can do it!"
The shiny red truck was a fairly light one and stood on an inclined cement floor which sloped toward the exit. Nevertheless, although Penny and her father exerted every iota of their combined strength, they could not start it moving.
"Maybe the brake is on!" Mr. Parker gasped, running around to the cab. "Yes, it is!"
Pushing once more, they were able to start the truck rolling. Once in motion its own momentum carried it down the runway into the open, a safe distance from the flames.
"How about the crated melons?" Penny asked, breathing hard from the strenuous exertion.
"Not a chance to save them," Mr. Parker answered. "We were lucky to get out the truck."
Driven back by the heat, Penny and her father went to stand beside the woman in dark flannel. Thanking them for their efforts in her behalf, she added that her name was Mrs. Preston and that her husband was absent.
"John went to Riverview and hasn't come back yet," she said brokenly. "This is going to be a great shock to him. All our work gone up in smoke!"
"Didn't you have the barn insured?" the editor questioned her.
"John has a small policy," Mrs. Preston replied. "It covers the barn, but not the melons stored inside. Those men did it on purpose, too! I saw one of 'em riding away."
"What's that?" Mr. Parker demanded, wondering if he had understood the woman correctly. "You don't mean the fire deliberately was set?"
"Yes, it was," the woman affirmed angrily. "I was sound asleep, and then I heard a horse galloping into the yard. I ran to the window and saw the rider throw a lighted torch into the old hay loft. As soon as he saw it blaze up, he rode off."
"Was the man anyone you knew?" Mr. Parker asked, amazed by the disclosure. "Were you able to see his face?"
"Hardly," Mrs. Preston returned with a short laugh. "He wore a black hood. It covered his head and shoulders."
"A black hood!" Penny exclaimed. "Why, Dad, that sounds like night riders!"
"Mrs. Preston, do you know of any reason why you and your husband might be made the target of such cowardly action?" the newspaper man inquired.
"It must have been done because John wouldn't join up with them."
"Join some organization, you mean?"
"Yes, they kept warning him something like this would happen, but John wouldn't have anything to do with 'em."
"I don't blame your husband," said the editor, seeking to gather more information. "Tell me, what is the name of this disreputable organization? What is its purpose, and the names of the men who run it?"
"I don't know any more about it than what I've told you," Mrs. Preston replied, suddenly becoming close-lipped. "John never said much about it to me."
"Are you afraid to tell what you know?" Mr. Parker asked abruptly.
"It doesn't pay to do too much talking. You act real friendly and you did me a good turn saving my truck--but I don't even know your name."
"Anthony Parker, owner of the _Riverview Star_."
The information was anything but reassuring to the woman.
"You're not aiming to write up anything I've told you for the paper?" she asked anxiously.
"Not unless I believe that by doing so I can expose these night riders who have destroyed your barn."
The Clock Strikes Thirteen opens in the newsroom of the Riverview Star, where Penny Parker’s rubber heels make no sound on the freshly scrubbed floor. This initial setting establishes a pattern of movement between professional and domestic spaces that structures the narrative. The story moves from the newspaper office to a bell maker’s cottage, an orphans’ home, and the road to Claymore, each shift carrying its own atmosphere and set of concerns. Wirt uses these transitions to balance the investigative plot with scenes of everyday life, creating a rhythm that alternates between tension and respite.
Movement Between Spaces
The narrative frequently shifts between the newsroom, where Penny gathers information, and more personal settings like the Sidell home or Mr. McGuire’s cottage. These transitions are often abrupt, as when Penny leaves the office to drive to Claymore or when Adelle runs away from the orphans’ home to the bell maker’s house. The movement is not merely geographical; it reflects a change in tone. The newsroom scenes are brisk and purposeful, while domestic scenes allow for quieter character interactions. For instance, the description of Mr. McGuire preparing lunch and Penny washing Adelle’s hair slows the pace considerably, offering a contrast to the earlier urgency of the newspaper deadline.
Recurring Images of Time and Clocks
The title’s promise of a clock striking thirteen is echoed in several scenes. The bell maker’s cottage, with its association with timepieces, becomes a central location. The old man’s remark that he would like a little girl “if I had my old job back” ties his identity to his craft. The orphans’ home and the newspaper office both operate on schedules, and characters frequently refer to time: “curfew never rings for me,” Penny says, while Adelle’s plea to stay with Mr. McGuire is framed as a desire for permanence. The extra stroke of the clock—thirteen instead of twelve—suggests something out of order, a disruption that the mystery may resolve.
Voice and Dialogue Patterns
Wirt’s dialogue is marked by quick exchanges and a colloquial tone. Penny’s banter with her father—“A girl has to have some amusement, you know”—establishes her as confident and playful. Adelle’s speech is more direct and pleading: “I’m never going back, even if I freeze and starve!” The contrast between the two characters’ voices is sharp. Penny uses humor to deflect tension, while Adelle’s earnestness exposes vulnerability. The dialogue often carries the plot forward, as when Penny learns about the orphans’ home or when Mr. McGuire hesitates to adopt Adelle. These conversations reveal character without lengthy exposition.
Structure of Investigation and Interruption
The mystery unfolds in a series of scenes that alternate between investigation and interruption. Penny’s plan to attend the theatre in Claymore is derailed by Adelle’s disappearance; her search for the child leads to the bell maker’s cottage. This pattern of setting a goal and then being diverted by a new development keeps the narrative moving. The chapter titles reflect this structure: “Sandwiches for Two” gives way to “Night Riders,” “A Black Hood,” and “A New Caretaker.” Each chapter introduces a fresh complication, often through a chance encounter or a sudden decision. The result is a story that feels episodic, with each segment building on the last.
Readers attentive to the interplay of setting and character will find that Wirt uses the physical movement between locations to mirror the emotional shifts in the story. The bell maker’s cottage, the newsroom, and the road all carry symbolic weight. The clock that strikes thirteen is not merely a plot device but a motif that ties together themes of time, work, and belonging. This edition invites a careful reading of how these elements work together to create a cohesive mystery.
I’ve always loved how The Clock Strikes Thirteen lets its heroine move between newsroom clocks and quiet country hours, time itself a gentle detective. It reminds me of a stranger kinship—the earnest, bumbling research of Bouvard and Pécuchet: A Tragi-comic Novel of Bourgeois Life, part 1 — Background and Themes, where investigation becomes a lifelong, hopeful stumble. Both know mystery lives in ordinary routines.
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