Meg of Mystery Mountain — Story, Setting & Ideas
Edition facts
Before opening Meg of Mystery Mountain — Story, Setting & Ideas, the edition data offers a quick orientation: 76,886 words, 5 hr 35 min estimated reading time, and 10 detected text sections.
The text analysis averages about 16.5 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 “Detective and mystery stories,” connecting these edition facts with the source record’s subject description.
Calculated from edition completeness, EPUB availability, text structure and catalogue metadata. Not a user rating.
How this score is calculated
- 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
CHAPTER I. THE MOST BEAUTIFUL GIRL
Jane Abbott, tall, graceful and languidly beautiful, passed through the bevy of girls on the wharf below Highacres Seminary with scarcely a nod for any of them. Closely following her came three other girls, each carrying a satchel and wearing a tailored gown of the latest cut.
Although Esther Ballard and Barbara Morris called gaily to many of their friends, it was around Marion Starr that all of the girls crowded until her passage way to the small boat, even then getting up steam, was completely blocked.
Jane, when she had crossed the gang plank, turned to find only Esther and Barbara at her side. A slight sneer curled her lips as she watched the adulation which Merry was receiving. Then, with a shrug of her slender shoulders that was more eloquent than words, the proud girl seated herself in one of the reclining deck chairs and imperiously motioned her friends to do likewise.
"It's so silly of Merry to make such a fuss over all those girls. She'll miss the boat if she doesn't hurry."
Marion had evidently thought of the same thing, for she laughingly ran up the gang plank, her arms filled with candy boxes, boquets and magazines, gifts of her admiring friends. Depositing these on a chair, she leaned over the rail to call: "Good-bye, girls! Of course I'll write to you, Sally, reams and reams; a sort of a round-robin letter to be sent to the whole crowd.
"Sure thing, Betty Ann. I'll tell my handsome brother Bob that you don't want him to ever forget you." Then as there was a protest from the wharf, the girl laughingly added: "But you wished to be remembered to him. Isn't that the same thing?"
Noticing a small girl who had put her handkerchief to her eyes, Merry remonstrated. "Tessie, don't cry, child! This isn't a funeral or a wedding. Of course you'll see us again. We four intend to come back to Highacres to watch you graduate just as you watched us today. Work hard, Little One, and carry off the honors. I've been your big-sister coach all this year, and I want you to make the goal. I know you will! Goodbye!" Marion Starr could say no more for the small river steamer gave a warning whistle--the rope was drawn in, and, as the boat churned the water noisily in starting, the chorus of goodbyes from the throng of girls on the wharf could be heard but faintly.
Marion remained standing at the rail, waving her handkerchief, smiling and nodding until the small steamer rounded a jutting-out point of land, then she turned about and faced the three other girls, who had made themselves comfortable in the reclining steamer chairs.
"What a fuss you make over all those undergrads, Merry," Jane Abbott remarked languidly. "A casual observer might suppose that each one of them was a very best friend, while we three, who are here present, have that honor. For myself, I much prefer to conserve my enthusiasm."
Marion sat down in a vacant steamer chair, and merely smiled her reply, but the youngest among them, Esther Ballard, flashed a defense for her ideal among girls. "That's the very reason why Merry was unanimously voted the most popular girl in Highacres during the entire four years that we have been at the seminary. Nothing was ever too much trouble, and no girl was too unimportant for Merry's loving consideration."
"Listen! Listen!" laughed good natured Barbara Morris. "All salute Saint Marion Starr."
But Esther, flushed and eager, did not stop. "While you, Jane Abbott"--she could not keep the scorn out of her voice--"while you were only voted the most beautiful."
"Only?" there was a rising inflection in Barbara's voice, and she also lifted her eyebrows questioningly. "I think our queen is quite satisfied with her laurels."
Jane merely shrugged her shoulders, then turning her dark, shapely head on the small cherry colored pillow with which she always traveled, she asked in her usual languid manner, "Marion, let's forget the past and plan for the future."
"You said you had a wonderful vacation trip to suggest, and that you would reveal it when we were on the boat. Well, this is the time and the place."
"And the girls?" chimed in Barbara. "Do hurry and tell us, Merry. Your plans are always jolly."
And so with a smile of pleasurable anticipation, Merry began to unfold her scheme.
"Aunt Belle is going to one of those adorable cottage hotels at Newport. She is just past-perfect as a chaperone and she said that she thought a party of four girls would be ideal. It will only cost each of us about $100 a month."
The novel opens not on Mystery Mountain but at a wharf below Highacres Seminary, where the languidly beautiful Jane Abbott passes through a bevy of girls with scarcely a nod. The scene is crowded, bustling with farewells and a small steamer churning water. Yet within pages, the setting contracts to the remote Redfords inn, where Meg—a girl with dark eyes and a smile that lightens gloom—teaches a dozen pupils in a one-room school. The shift is abrupt: from the chatter of schoolgirls to the quiet of a mountain classroom, from Marion Starr's round-robin promises to Ann Skittle's talk of marriage and children. This contrast in pace and voice is the novel's first clue that its mystery may be less about detection than about the spaces between noise and stillness.
Voices in Contrast
The excerpts present two distinct vocal registers. The opening chapter is filled with the bright, rapid-fire dialogue of schoolgirls: “Sure thing, Betty Ann. I’ll tell my handsome brother Bob that you don’t want him to ever forget you.” The sentences are short, exclamatory, crowded with nicknames and laughter. Later, in the mountain sections, speech slows. Ann Skittle says, “Me an’ Hank is like to have kiddies an’ I’d be wishin’ you could teach ’em.” The grammar shifts, the vocabulary narrows, and the rhythm becomes halting. North does not simply report dialect; she uses it to mark a change in narrative gravity. The schoolgirls’ chatter is weightless; the mountain speech carries the heft of future lives. This vocal contrast is not incidental—it structures the reader’s sense of two worlds colliding.
The Teacher’s Gaze
Meg’s teaching method is described as “a charming way, quite her own, of teaching, with story and word pictures.” The narrator notes that even the master concedes she is more fitted by nature to instruct the child mind. This is not a generic compliment; it is a specific claim about Meg’s narrative function. She does not merely deliver information—she translates experience into image. When she kisses Ann Skittle and speaks of motherhood, the text says “in her voice there was a note of tenderness” and that tears “mist-like, always rose to her own eyes when she thought of the mother whom she never knew.” The teacher’s gaze is thus turned inward as well as outward. The pacing slows at such moments, allowing a private grief to surface briefly before Meg’s smile returns. These pauses are rare but telling.
Pace and the Unseen
The novel’s pacing is uneven in a deliberate way. The opening wharf scene moves quickly, with a flurry of names and gestures. Then the narrative slows to a near standstill in the mountain classroom, where Meg hears recitations and dismisses pupils at two. The mystery element—the County Weekly News that is “days overdue”—is introduced almost as an afterthought, buried in a sentence about Pa Heger’s request. The word “Important! Rush!” appears later, but the urgency feels mismatched with the surrounding calm. This suggests that the mystery may be less a plot engine than a device to observe how characters react to disruption. The reader is left to wonder whether the mountain’s secrets will be uncovered through action or through the slow accumulation of quiet observations.
Readers attentive to shifts in tempo will find that the novel’s mysteries are as much about character as about plot. The contrast between the seminary’s rapid farewells and the mountain’s deliberate rhythms invites a reading that lingers on what is said between the lines. Pay particular attention to moments when the narrative pauses—on a kiss, a tear, a delayed newspaper—for these are where the story’s deeper currents run.
Meg's loneliness up in those mountains stayed with me—that quiet ache of leaving one life behind. Something in her reminded me of another girl I met in Philippa — Themes and Context, whose own uncertainty felt just as real. I keep thinking about how both of them found their footing slowly, like breathing.
There are no reviews for this eBook.
What did you think of this book?
Answer a few questions and save a private reflection on this device.