Laughing Last — Themes and Context
Edition facts
For Laughing Last — Themes and Context, the stored edition analysis reports 69,678 words, 5 hr 3 min estimated reading time, and 26 detected text sections.
The text analysis averages about 15.1 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 “Orphans -- 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
Sidney had certainly started something! The very atmosphere of the familiar room in which they were assembled seemed charged with strange currents. Never had any family council taken such a tone. Sidney thrilled to the knowledge that she was now a vital part of it. Her eyes, so recently wet, brightened and her cheeks flushed. So interested was she in what Issy would answer to Vick that she ignored the opening Vick had made for her.
But it was Trude who answered Vicky--Trude, the peaceful.
"Come! Come! First thing we know we'll actually be feeling sorry for ourselves! I sometimes get awfully tired living up to Dad's greatness, but I don't think that's being disrespectful to his memory. I don't suppose there are any girls, even rich ones, who don't sigh for something they haven't. But just to stiffen our spines let's sum up our assets. We're not quite as poor as church mice; we have this old house that isn't half bad, even if the roof does leak, and the government bonds and the royalties and living the way we had to live with Dad taught us to have fun among ourselves which is something! We're not dependent upon outsiders for _that_. You, Issy, have your personality which will get you anywhere you want to go. And Vick's better dressed on nothing than any girl in Middletown. We older girls do have a little more than Sid, so I vote she has the Egg this time all to herself to do exactly as she pleases with it--go 'round the world in search of adventure or any old thing. How's that, family?"
The tension that had held the little circle broke under Trude's practical cheeriness. Isolde smiled. Vick liked being told she looked well-dressed, she worked hard enough to merit that distinction. Sid had the promise of the Egg, which, be it known, was the royalty accruing each year from a collection of whimsical verse entitled "Goosefeathers" and which these absurd daughters of a great but improvident man set aside from the other royalties to be spent prodigally by each in turn.
"I'm quite willing," Isolde conceded. "I was going to suggest that we agree to use it this time to fix the roof where it leaks but if Sid's heart is set on it--"
"It would have been my turn--that is not counting Sid," Vick reminded them, "and I'd have used it having that fur coat Godmother Jocelyn sent me made over. But let the roof leak and the coat go--little Sid must have her fling! I hope you're happy now, kid. What will you really do with all that money?"
At no time had Sidney definitely considered such a question. Her point won she found herself embarrassed by victory. She evaded a direct answer.
"Oh--ho, mysterious! Well, there won't be so much that you'll hurt yourself in your youthful extravagance. Now that this momentous _affaire de famille_ is settled, what are you girls going to do this morning?"
"As soon as these dishes are out of the way I'm going to trim that vine on the front wall. It's disgustingly scraggly."
"Oh, Trude--you _can't_! You forget--_it's Saturday_!"
Trude groaned. Vicky laughed naughtily. Saturday--that was the day of the week which the Middletown Branch of the League of American Poets kept for the privilege of taking visitors to the home of Joseph Romley, the poet. In a little while they would begin to come, in twos and threes and larger groups. First they'd stand outside and look at the old house from every angle. They would say to the strangers who were visiting the shrine for the first time: "No, the house wasn't in his family but Joseph Romley made it peculiarly his; it's as though his ancestors had lived there for generations--nothing has been changed--that west room with the bay window was his study--yes, his desk is there and his pencils and pens--just as he left them--even his old house jacket--of course we can go in--our League paid off the mortgage as a memorial and we have Saturday as a visiting day--there are four girls, most interesting types, but Isolde, the oldest, is the only one of them who is at all like the great poet--"
The novel opens with a sharply drawn family quarrel: fifteen-year-old Sidney Romley demands her turn at the “Egg,” a family fund that her older sisters have each used twice. Her rehearsed speech—‘It’s the principle of the thing’—is met with laughter from nineteen-year-old Victoria, who teases, ‘Fifteen-year-olders don’t have turns!’ The scene establishes a voice that mixes Sidney’s earnest self-importance with the sisters’ affectionate mockery, and the pacing quickly shifts from this domestic standoff to broader horizons.
Voice and the Struggle for Agency
Sidney’s opening protest reveals a narrator attuned to the gap between how a fifteen-year-old wants to sound and how she actually sounds. She has ‘rehearsed this scene in the privacy of her attic retreat’ and tries to keep to ‘the heart of the issue,’ but a sob rises in her throat. The older sisters’ dialogue—Vicky’s ‘Tut! Tut!’ and Trude’s ‘Why, Sid, dear!’—underscores Sidney’s position as the youngest, still fighting to be taken seriously. Later, when Sidney confesses her worries to Aunt Achsa, the older woman responds with a colloquial warmth: ‘law’s sake, child, your Aunt Ascha didn’t mind—don’t worry your little head over that.’ The narrative voice thus moves between Sidney’s heightened self-consciousness and the comforting, earthy speech of the adults, creating a tonal contrast that mirrors her journey from rebellion to belonging.
Pacing and the Rhythm of Daily Life
The excerpts show a deliberate alternation between tense, dramatic moments and relaxed, domestic scenes. The Egg argument is tight and confrontational, with short lines of dialogue and Sidney’s internal pressure. In contrast, the cherry-pitting scene on the step slows the pace: Sidney and Lavender sit ‘in the sunshine,’ Nip and Tuck watch from the lilac bush, and the red juice trickles down Sidney’s arms. Mr. Dugald’s return introduces a ‘rollicking mood’ and a plan for a picnic supper, shifting the rhythm again toward anticipation and adventure. This ebb and flow—from conflict to quiet labor to festive planning—gives the narrative a natural, unhurried tempo that feels grounded in the routines of a seaside summer.
Setting and Sensory Detail
The coastal setting emerges through specific, sensory details rather than broad description. The Egg argument takes place in a ‘sunny window seat’; later, Sidney and Aunt Achsa sit on a step, with the shade of a lilac bush and the glint of glass jars of pickled cherries. Rockman’s Wharf is sketched as a working hub: ‘small fishermen came in their dories,’ motor boats chugged, and a schooner waited to be overhauled. The narrative voice lingers on the tangible—the red juice on brown arms, the ‘ear-splitting explosions’ of Pete Cady’s Ford—grounding the story in a world of textures and sounds. These details are not merely decorative; they anchor the characters’ emotions and choices in a vivid, lived-in landscape.
Readers attentive to shifts in tone will notice how Abbott uses dialogue and setting to mark Sidney’s growing confidence. The early scenes of family negotiation give way to a broader community of fishermen, cousins, and neighbors. Pay particular attention to the way minor characters—Aunt Achsa, Mr. Dugald, Lavender—speak in distinct idioms that contrast with Sidney’s more bookish earnestness; these voices collectively shape the novel’s emotional register.
There’s something about Sidney’s stubborn claim on that Egg fund that feels familiar—that fierce, almost funny grip on a small inheritance when the world feels uncertain. It reminds me of how Grace, in Little Prudy's Cousin Grace — Key Ideas to Explore, holds onto her own quiet dignity among cousins. Both girls carry that same wistful stubbornness, I suppose, and it lingers long after the last page.
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