Patty's Fortune — Reading Companion

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Wells, Carolyn, 1862-1942, Caswell, Edward C., 1879-1963 [Illustrator] Project Gutenberg 2016 Not confirmed
Inheritance and succession -- Juvenile fiction; Courtship -- Juvenile fiction; Interpersonal relations -- Juvenile fiction; Maine -- Description and travel -- Juvenile fiction Readers of public-domain and historical texts
Project Gutenberg digital edition en

Edition facts

Words 58,748
Reading time 256 min
Text sections 8

Before opening Patty's Fortune — Reading Companion, the edition data offers a quick orientation: 58,748 words, 4 hr 16 min estimated reading time, and 8 detected text sections.

The text analysis averages about 12.2 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 “Inheritance and succession -- Juvenile fiction,” connecting these edition facts with the source record’s subject description.

In this 1916 novel, Patty Fairfield faces a career decision against her father's wishes, with the narrative shifting between playful banter and tense confrontation. The opening chapter establishes a pattern of parental authority clashing with youthful ambition, set against a backdrop of summer leisure and Maine travel.
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Editorial Edition Score 4.7/5

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.

Edition quality

Read the Text

e if he _is_ any good. And, you won’t believe it, but his name is Chick Channing!”

“Yes, it is. Chickering Channing, for long, Chick for short.”

“What _was_ his mother thinking of?”

“Dunno. Prob’ly he was named for a rich uncle, and she couldn’t help the combination.”

“One of Mona’s Western friends. Arrives today for a week or so. Mona’s Tea is in his honour, though she was going to have it anyway.”

“Well,” said Mr. Fairfield, judicially, “of course you must go to that Tea, and subjugate that young man. Then have him over here and I’ll size him up. If you want him, I’ll buy him for you.”

“Thank you, dear Father, but I have toys enough. Well, then, tonight is the Country Club Ball. And I do hate that, for there are so many uninteresting people at it, and you have to dance with most of them. And tomorrow there’s a poky old luncheon at Miss Gardiner’s. I _don’t_ want to go to that. I wish I could elope!”

“Why don’t you, Patty?” said Nan, sympathetically; “cut it all, and run up to Adele’s, or some nice, quiet place.”

“Adele’s a quiet place! Not much! Even gayer than Spring Beach. And, anyway, it isn’t eloping if you go alone. I want to elope with a Romeo, or something exciting like that. Well! for goodness gracious sakes’ alive! Will you _kindly_ look who’s coming up the walk!”

They followed the direction of Patty’s dancing blue eyes and saw a big man, very big and very smiling, walking up the gravel path, with a long, swinging stride.

“Little Billee!” Patty cried, jumping up and holding out both hands. “Wherever did you descend from?”

“Didn’t descend; came up. Up from the South, at break of day,—Barnegat, to be exact. How do you do, Mrs. Fairfield? How are you, sir?”

Farnsworth’s kindly, breezy manner, condoned his lack of conventional formality, and with an easy grace, he disposed his big bulk in a deep and roomy wicker porch chair.

“And how’s the Giddy Butterfly?” he said, turning to Patty. “Still making two smiles grow where one was before? Still breaking hearts and binding them up again?”

“Yes,” and she dimpled at him. “And I have a brand-new one to break this afternoon. Isn’t that fine?”

“Fine for the fortunate owner of the heart, yes. Any man worthy of the name would rather have his heart broken by Patty Fairfield than—than—to die in a better land!”

“Hobson’s choice,” said Mr. Fairfield, drily. “Are you here for a time, Farnsworth? Glad to have you stay with us.”

“Thank you, sir, but I’m on the wing. I expected to spend the holiday properly, fishing at Barnegat. But a hurry-up telegram calls me up to Maine, instanter. I just dropped off here over one train, to catch a glimpse of Little Sunshine, and make sure she’s behaving herself.”

“I’m a Angel,” declared Patty, with a heavenward gaze. “And, Bill, what do you think! I was just saying I wanted to elope. Now, here you are! Why don’t I elope with you?”

“If it must be some one, it might as well be me,” returned Farnsworth, gravely; “have you a rope ladder handy?”

“Always keep one on hand,” returned Patty, gaily. “When do we start?”

“Right away, now, if you’re going with me,” and Bill laughed as Patty sat up straight and tied her sweater sash and pretended to get ready to go.

“But this is the strange part,” he went on; “you all think I’m fooling, but I’m not! I do want to carry Patty off with me, on this very next train.”

“This is so sudden!” said Patty, still taking it as a joke.

“You keep still a minute, Milady, and let me explain to your elders and betters.” Patty pouted at this, but Bill went on. “You see, Mr. Fairfield, I’m involved in some big business transactions, which, not to go into details, have made it necessary for me to become the owner of a large hotel up in Maine,—in the lake region.”

“I thought all Maine was lakey,” put in Patty.

“Well, this is a smallish lake, not far from Poland Spring. And it’s a big hotel, and it’s to close tomorrow, and all the guests will leave then. And I’ve got to go up there and look after it.”

“How did you happen to acquire this white elephant?” asked Fred Fairfield, greatly interested.

The opening chapter of Patty's Fortune introduces a conflict that will shape the novel: Patty Fairfield's desire to pursue a career in light opera, opposed by her father. The dialogue moves briskly from a casual discussion of Labour Day to a serious argument about a stage manager's offer. Mr. Fairfield's tone shifts from teasing to firm, using a childhood lesson on "proportion" to argue against Patty's plan. Patty's response—"I've no intention of dropping it"—shows her determination. The scene is set at "The Pebbles," the family's summer home, with details of Patty's white frock and salmon-pink sweater emphasizing her youth and social standing.

Voice and Dialogue as a Marker of Character

The excerpt reveals character through contrasting speech patterns. Patty's dialogue is peppered with playful retorts: "You can't start anything, Dad," and self-deprecating humor about her feet. Mr. Fairfield, by contrast, uses measured, paternal language: "I don't want my daughter to be sacrificed to their business acumen." When he speaks in a tone Patty "had not heard since she was a little girl," the narrative signals a shift in authority. Nan, the mother, speaks only in brief, supportive murmurs, her role limited to mediating. The dialogue is the primary vehicle for conflict, with no interior monologue or description of emotions beyond flushed cheeks and pouting lips.

Pacing and the Structure of Disagreement

The argument unfolds in distinct phases: a light opening, a sudden interruption when Patty reveals the manager's visit, a tense pause for dinner, and a resumed debate in the library. This structure mirrors the novel's episodic style, with chapters likely following similar patterns of setup and resolution. The dinner scene acts as a deliberate break, enforcing the family rule against discussing unpleasant subjects at table. The pacing is quick, with short paragraphs and rapid exchanges. The father's lecture on proportion is a key rhetorical moment, slowing the pace to deliver a moral point. The excerpt ends mid-argument, suggesting that the conflict will extend across multiple chapters.

Setting and Social Context as Background

The setting is established through specific details: "The Pebbles" at the seashore, Labour Day, a "big couch hammock on the wide veranda." These details root the story in a particular social milieu—wealthy, leisured, and domestic. Patty's white shoes and silk stockings signal her class, while her father's reference to "society girl going on the stage" highlights the social stakes. The Maine connection appears through Patty's mention of meeting Maude Kent at Poland Spring, a real resort. The catalog subjects list Maine travel and description, suggesting that later chapters may shift to that setting. The opening, however, remains firmly in the Fairfield home, using the domestic space to frame the generational conflict.

Readers may find it useful to track how the father-daughter dynamic evolves across the novel. The opening chapter establishes a pattern of authority and resistance, but the excerpts do not reveal whether Patty's ambition is fulfilled or abandoned. Pay attention to how the narrative voice handles Patty's perspective—whether it remains external or shifts to her interior thoughts. The illustrations by E. C. Caswell, mentioned in the front matter, may offer visual cues to character and mood.

Rereading the opening of Patty’s Fortune, that quiet friction between a father’s plans and a daughter’s stubborn dreams, I was reminded of another old friend. The way Patty weighs duty against her own quiet wants—it felt like that summer in the tea room, girls and hope and clinking cups. Six Girls and the Tea Room — Reading Companion holds that same gentle ache, a familiar shade of wanting something more.

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