A Little Girl in Old Pittsburg — Themes and Context
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A Little Girl in Old Pittsburg — Themes and Context can be approached with a clearer sense of reading commitment from its source measurements: 83,403 words, 6 hr 3 min estimated reading time, and 8 detected text sections.
The text analysis averages about 12.7 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 “Bildungsromans,” 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
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- Chapters / structure15 pts
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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
Dilly was quite shrewd, too, for a little girl not yet seven. She considered now and moved a far off goose, and the fox knew that was sour grapes.
"Oh, you're a sharp one!" exclaimed grandfather. "I'll have to mind how I doze on this bout."
But alas! On the next move she let him in a little way, then she fenced him out again, and lost one goose repairing her defences. But it wasn't a bad move. The great art was to keep one goose behind another for protection. He couldn't jump over but one at a time.
She beat grandfather, who pretended to be quite put out about it and said she'd do for an army general. Grandmother was making a pumpkin pudding with milk and eggs and sugar and stick-cinnamon, which was quite a luxury. Then she poured it into an iron pan that stood upon little feet, drew out a bed of coal, and plumped it down. The cover had a rim around the top, and she placed some coals on the top of this. She baked her bread in it, too. Stoves were great luxuries and costly. Then she laid some potatoes in the hot ashes and hung a kettle of turnips on the crane.
Grandfather and the little girl had another game and she was the fox this time and lost, getting penned up.
"Grandfather," she said sagely, "if you know the good early moves and don't make any mistake, you're sure to win."
"I believe that is so. You're getting a stock of wisdom, Dilly. Oh, won't your father be surprised when he comes home. You were a mere baby when he went away."
She was an oddly pretty child. Her hair was really yellow, soft and curly, then her eyes were of so dark a blue that you often thought them black. The eyebrows and lashes were dark, the nose rather piquant, the mouth sweet and rosy, curved, with dimples in the corners. But in those days no one thought much about beauty in children.
The door was flung open.
"Ugh!" ejaculated Gran Bradin. "It's fairly wintry. Fire feels good! The news is just glorious! They headed off Cornwallis after having destroyed their fortifications and dismantled their cannon. The British works were so in ruins they tried escape. One section of troops crossed over to Glous'ter Point, but a storm set in and dispersed the boats. There was nothing left but surrender. So the great army and the great general who were to give us the finishing stroke, handed in their capitulation to General Washington. There are between seven and eight thousand prisoners and all the shipping in the harbor. Grandfather, you may be proud. We had, it is thought, seven thousand French troops, with Count De Rochambeau, and Count De Grasse."
He reached over and wrung grandfather's slim white hand with its tracery of blue veins. Then he kissed his wife. "They've been good friends to us. We'll never forget that!"
"And the war is over?"
"Not exactly that. We've yet to dislodge them from various places. But they think now England will be willing to treat. And we'll have a country of our own! Well, it was three weeks ago."
There were no telegraphs, and only the more important places had post roads. Pittsburg was quite out of the way. It had no dreams of grandeur in those days, and about its only claim to eminence was Braddock's defeat.
"Lang brought some copies of the Philadelphia _Gazette_, but you couldn't get near one, they were rushed off so. But we'll hear it all in a few days. Too much good news might puff us up with vain glory. We may look for letters any day. Such a splendid victory!"
Grandfather was wiping the tears from his eyes. Marc Bradin went in to comfort his daughter, though he could hardly forbear smiling with a sense of inward amusement as he thought of Sandy Carrick, who had as good as disowned his son for joining the Colonial army. He'd be glad enough to have him back again. Though he had been rather disgruntled at his marrying Barbe Bradin because she had French blood in her veins, as if the Irish Bradin could not in some degree counteract that!
Sandy Carrick had been in the sore battle of Braddock's defeat. But after all the cowardly French had thought retreat the better part of valor and left the Fort that had been partly burned, left that section as well, and the government had erected the new Fort Pitt. He insisted that the French had been really driven out. They certainly had been checked in their advance to the Mississippi.
Amanda M. Douglas opens A Little Girl in Old Pittsburg with a child's urgent question—'Why is Kirsty ringing two bells?'—and immediately immerses the reader in a household divided by news of the Revolutionary War's end. Grandfather Carrick's explosive denial of Cornwallis's surrender ('It's a dirty black lee!') sets a tone of stubborn loyalty to the Crown, while Daffodil's uncertainty signals her position between generations. The street is described as 'a rather winding lane with the houses set any way,' built of logs and thatched with straw, grounding the story in a specific, rough-edged frontier settlement. This opening does not merely introduce a setting; it establishes a pattern of competing voices—political, familial, and personal—that the excerpts suggest will shape Daffodil's coming-of-age.
Dialect and Dispute: The Sound of a Household
The excerpts capture a household where speech itself is a marker of allegiance. Grandfather Carrick's brogue—'a dirty black lee,' 'tatterdemalions'—contrasts with the more measured tones of Bernard Carrick, who later explains the whiskey tax as a matter of national necessity. Norah is described as 'hotheaded' like Grandad, while Daffodil is advised to 'take pattern by mother and grandmere and have no opinions.' This advice, however, is undercut by the narrative's willingness to let Daffodil hear and report the arguments. The text does not simply reproduce dialect for color; it uses it to dramatize a family split along political lines, with the child caught in the middle. The Whiskey Rebellion is not named outright in these pages, but the 'summons to appear at court' and the distillers' anger place the story squarely in the 1790s, making the domestic dispute a microcosm of national conflict.
The City and the Frontier: Daffodil's Two Worlds
Daffodil has returned from a visit to 'that old city'—likely Philadelphia or New York—and her brother Felix resents the change: 'I wish you hadn't gone to that old city. You were twice as good fun before.' The excerpts contrast her urban experiences (theatre, concerts, a dancing class, 'ladies so beautifully dressed') with the rustic life of Pittsburgh, where Felix expects her to 'climb trees or run races.' Bernard Carrick, however, sees Pittsburgh's future: 'boats being built, there's coal and iron ... they're talking about glass even. We shall be the head centre.' This tension between refinement and industry, between the girl who knows 'modern steps' and the girl who used to romp, is not resolved in the excerpts. Instead, the narrative holds both possibilities in view, suggesting that Daffodil's growth will involve negotiating these competing claims on her identity.
Recurring Motifs: Whiskey, Horses, and the Weight of Family
Three motifs recur in the excerpts with enough frequency to suggest structural importance. First, whiskey: the tax dispute dominates adult conversation, and Bernard Carrick's business interests are entwined with distilling. Second, horses: Daffodil is praised as 'a good rider,' and a ride with her father becomes an occasion for both intimacy and instruction. Third, the weight of family obligation: Bernard insists Daffodil must 'marry and settle here,' while Grandfather Carrick's political intransigence isolates him. These motifs are not merely decorative; they create a texture of daily life in which economic pressures, physical skill, and filial duty intersect. The excerpts do not reveal how these threads will be woven together, but they establish them as the fabric of Daffodil's world.
Readers approaching A Little Girl in Old Pittsburg should attend to the way Douglas uses domestic scenes to stage larger historical conflicts. The excerpts offer no resolution to the whiskey tax dispute or to Daffodil's future; instead, they present a girl learning to read the competing demands of loyalty, ambition, and affection. The novel's value lies less in plot than in the density of its period detail and the quiet precision with which it renders a child's perspective on adult turmoil.
There’s something touching about Daffodil carrying Pittsburgh’s old ways into a changing world, the weight of loyalty pressing against progress. It reminded me how certain stories let us revisit that ache of growing up—something Judy Bolton’s own quiet dilemmas echo. For anyone who treasures that gentle pull between past and person, The Yellow Phantom A Judy Bolton Mystery — Reading Companion feels like a familiar hand reaching back.
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