Jane Allen, Center — A Reader’s Guide

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Bancroft, Edith Project Gutenberg 2012 Not confirmed
College students -- Juvenile fiction; Young women -- Juvenile fiction; Women college students -- Juvenile fiction; Basketball stories Readers of public-domain and historical texts
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Edition facts

Words 63,289
Reading time 276 min
Text sections 31

The catalog record for Jane Allen, Center — A Reader’s Guide provides practical reading context through 63,289 words, 4 hr 36 min estimated reading time, and 31 detected text sections.

The text analysis averages about 13.8 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 “College students -- Juvenile fiction,” connecting these edition facts with the source record’s subject description.

This editorial note examines the interplay of sky imagery, basketball strategy, and social tensions in Edith Bancroft's Jane Allen, Center, focusing on the opening cloud metaphor, the protagonist's role as Center, and the election-night conflicts visible in the excerpts.
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Editorial Edition Score 4.8/5

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  • Title & short description10 pts
  • Source metadata20 pts
  • Text length15 pts
  • Chapters / structure15 pts
  • EPUB file integrity20 pts

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Read the Text

“Yes, girl, I know that feelin’. Like you hate to have it over because you want to have it on. Well, go to it, Janie, and don’t swallow too much of that yellar paper. Looks poison like to me.”

Jane crushed the yellow envelope to her breast, in sheer delight. Then she snapped up a knitting needle to open the cherished missive.

“You know, Auntie,” she whispered, “this will tell us who won dadykin’s scholarship.” Then raising her voice to Uncle Todd’s inquiring eyes, “Daddy gave a scholarship to my college, Unk,” she told him. “Do you suppose some very nice, prim, prudy, who took the home correspondence course between making sister Julia pinafores and Jacob’s jumpers, has won it? Of course, I respect home cooking girls, and particularly admire the devotees of domestic science, but Grade B from the Branchville would be all out of luck in the Wellington routine. Bye-bye now, and be good. Uncle Todd, don’t make Aunt Mary envious with your report of auction bargains. She is always and ever objecting to catalogue prices.”

With a gay wave of the letter, in which delight was momentarily suppressed, Jane flitted from the room to the porch, where now the last drops of the afternoon shower were reluctantly counting their totals. She dropped into the big wicker chair near the wisteria arch, and curled up like a kitten, in the way girls have of “fairly eating” a letter.

While she is thus perusing this perfectly private communication let us present Jane Allen formally to our readers.

In the first volume, “Jane Allen of the Sub-Team,” we met her as a girl Solitaire. She had been reared on a ranch, without girl companions, and had never realized that tolerance which is necessary in the big world of boys and girls. But once at the Eastern college we like her best in her brave battles against the limits of conventions she finds there, and we cannot but admire the spirit with which she holds out, just long enough, and gives in just in time, to save situations. Perhaps the true deep affection, so soon shown for Jane by her classmates of the freshmen, is the best testimonial to her glory as Jane Allen Sub. Jane had for a time ignored the tame basketball sport, delighting in her stolen rides on Firefly (for her indulgent father had sent the saddle horse to school too with Jane as he expressed it), but finally acknowledging there was something worth while in the game Jane fought for a place on the team, and she won it triumphantly. The opposition tried many turns both fair and foul to defeat her, but Jane won out; with an interesting flourish.

Not less attractive was she as Jane Allen, Right Guard, in the second volume of the series. Girls can be very small sometimes, even behind the sheltering walls of important colleges, and in this story we were introduced to a set of “peculiars” commonly called “snobs,” who spent a lot of perfectly good time trying to spoil Jane’s ever-growing popularity at Wellington. Just how flatly they failed makes a rather thrilling tale. Haven’t you read it? You will love the way Jane rescues Norma, the girl working her way through college, putting down scheme after scheme, concocted just to embarrass the poorer girl. Jane found a legitimate outlet for her talent as a joy maker, and a gloom crusher. Even taking it moderately, one is enthralled with her genius in making and keeping the best of friends, and Judith Stearns her “best,” runs a close second with Jane in the popularity contest of the second volume.

CHAPTER II—TELLTALE TIDINGS

The letter which Jane had so counted on, had just now shed its delightful news, and at last she knew who had won the scholarship. Winding herself tighter still in the big wicker chair, so that she seemed a veritable circle of pink organdie, she snuggled the yellow pages closer in her prettily browned hands, read a few lines over for the n’th time and finally, with a spring and a sprint, made her way back to the living room.

Uncle Todd was evidently well pleased with his story of the Welch auction, for the palpitating cane was throbbing up and down in his sinewy hand, and Aunt Mary had completely laid aside her knitting, and sat with hands folded at attention.

“I would call it a shame,” she commented as Jane entered.

“And you’d give it the right name,” replied Uncle Todd.

At the threshold Jane hesitated. Even to her youthful eyes there was something restful in the picture.

The opening chapter of Jane Allen, Center sets a contemplative mood with an extended metaphor: clouds are described as "jolly round fleecy" playmates that "tumbled over their playmates" and "baby cloudlets" that slide down slopes, while "haughty, majestic, dignified leaders" march toward the prairie line. This sky-scape mirrors Jane Allen's own mental weather—she resolves to practice "moderation" with her worries, yet a drop of rain lands with "the precision of an eye dropper," puncturing her philosophizing. The passage establishes a pattern of contrasts between playful and serious, personal and communal, that recurs throughout the excerpts.

Sky as Emotional Barometer

The opening sky scene is not mere decoration. Jane's gaze upward yields "steely glints" that "quivered into sharp, silver blade-like flashes," a description that blends natural observation with a hint of competitive edge. The clouds are personified as reluctant workers—"those young sky rowdies never wanted to work, always romping and skylarking"—which echoes the tension between duty and leisure that Jane faces as she prepares to leave her ranch home for Wellington College. Later, the weather reappears only obliquely, but the initial image of sunshine "braving the cloud's attack" foreshadows Jane's role as a steadying force amid social storms. The narrative voice, through Jane's musings, explicitly links sky and fortune: "clouds and sunshine, pleasant here and a storm somewhere else." This pattern of using natural phenomena to reflect inner states is a deliberate structural choice, not a casual backdrop.

Center as a Position of Pressure

The title Jane Allen, Center points to basketball, but the excerpts reveal that the position carries weight beyond the court. Judith Stearns tells Jane, "We need you in our office, and we are going to run a basketball try-out next week. You are to be Center, you know. There is positively no chance of bolting that." The phrasing—"no chance of bolting"—suggests Jane's role is both an honor and an obligation. Jane herself worries about being "overburden" by honors, while Judith deflects praise by saying she is content as "little old Guard." The basketball try-out is mentioned alongside election-night preparations, linking athletic and political leadership. Jane's responsibilities as Center thus extend beyond the gymnasium: she is also class president, and the excerpts show her "quiet, composed, if a trifle flushed" as she takes the desk from retiring president Hazel Manners. The dual roles of athlete and leader create a specific tension between personal anxiety and public expectation.

Election Night and Social Fault Lines

The election-night scene in Chapter XVII reveals underlying social conflicts. Jane, as incoming class president, "plunged into the most difficult part of the meeting" with "characteristic directness," while across the room "Marian Seaton, surrounded by a chattering crowd" sits "directly below the big desk." The spatial arrangement—Marian below the desk, Jane at it—hints at rivalry. Earlier, Jane has resolved that Helen Powderly "would not be socially ostracised on account of her peculiar status," and she questions why Helen should be "made a victim of girls' foolish whims." The excerpts do not disclose the nature of Helen's status, but the language of "potential enemies" (the chapter title) and "massing for attack" (Judith's joke about the Marians) establishes a climate of factionalism. Jane's internal conflict—balancing her duty as leader with her personal loyalty to Helen—is the emotional core of these passages, though the outcome remains unknown from the excerpts alone.

The excerpts present a protagonist who is both reflective and action-oriented, caught between the idyllic ranch life of El Capitan and the structured social world of Wellington. Readers attentive to the opening cloud imagery will find it echoed in the shifting alliances and pressures Jane navigates. The basketball try-out and election meeting are not separate plotlines but converging arenas where Jane's character is tested. The incomplete nature of the excerpts leaves Helen Powderly's situation and the outcome of the election unresolved, inviting speculation grounded in the text's own cues.

Years of shelving have taught me there’s a quiet kinship between Bancroft’s Jane Allen, Center—her careful pointing at the sky, that lone cloud before the storm—and the hush found in Sisters — Context and Discussion, where another girl learns to hold her own ground. Both are, at heart, about making room for a breath before the shouting.

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