Six Girls and the Tea Room — Reading Companion
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For Six Girls and the Tea Room — Reading Companion, the stored edition analysis reports 78,694 words, 5 hr 43 min estimated reading time, and 8 detected text sections.
The text analysis averages about 16.0 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 “New York (N.Y.) -- Juvenile fiction,” connecting these edition facts with the source record’s subject description.
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She had been indeed their "Noah" who had saved them from destruction, and Happie ran after her at her hint of regret in leaving them, precipitating herself upon her in such wise that it was evident she had lost every bit of her former fear of her name donor. It was lucky that the little hall was but three feet wide, for Miss Keren staggered under the onslaught, though she kissed Happie's glowing cheek as heartily as the girl kissed her pale one.
"I know how the animals felt when they saw Noah walking off, dearest Auntie Keren!" she cried. "They felt like bleating, and as if Shem and Ham and Japhet, and all their wives couldn't console them if Noah hadn't promised to come often to see that they were fed, and to pat their heads and let them lick his hand! You dearest of Auntie Kerens!"
"I hope the original Noah didn't have the bear as spokesman for the rest of the animals!" gasped Miss Keren. "Happie, you are smothering me. There, my dear, let me go! I hear Bob whistling up the stairs, and Laura begging him to go slower. Gretta owns the Ark now. Go and hug her!"
Pretty Margery came out of a room farther down the hall and opened the door to let Miss Keren out and to let in Bob, the one Scollard boy, and Laura, the third girl. She kissed Miss Keren with her gentle, sweet manner, conveying silently her sense of the blessed difference between the circumstances of their return to the flat which Happie had dubbed "the Patty-Pans" and those under which they had closed that front door behind them in the spring to go to Crestville, and her realization that the Scollards owed this betterment to Miss Keren.
Bob and Laura came in with arms filled with packages, most of which had to be carried so perfectly right side up that Laura's face was one pucker of solicitude.
Penny--Penelope, the baby,--had been vainly trying to unfasten the cords holding down the cover of Jeunesse Dorée's basket, stimulated by his imploring mews. Polly had been conducting Gretta through the flat, which struck the girl, for the first time entering a domicile other than the Crestville farmhouses, as a sort of miracle for which previous descriptions had not prepared her mind.
"No wonder Happie called it 'the Patty-Pans,'" said Gretta, as they arrived at the parlor window through a series of telescopic rooms. "It goes on, one room after another, just for all the world like such sheets of baking tins! And are there many like this in this one house?"
Polly felt delightfully experienced, at ten, beside tall Gretta of fifteen, who did not know flats.
"There are two on each floor, and this house is six stories high; this is the fourth floor, east. The Gordons--Ralph and Snigs, you know,--are just across from us, fourth floor, west. That makes twelve flats in one house," she explained carefully. "I guess they're all rented; they generally are in December, like this. They're the nicest flats for this rent mamma saw. You have to have ref'runces to get in, and mamma wouldn't like to leave us alone all day when she's gone to take charge of foreign letters for that firm down in town 'less we were in a house where they were strict about ref'runces." Polly--Mary, but no one called her that,--was a most reliable, painstaking, plump little person, and she intended to go on enlightening Gretta as to the peculiarities of flats, when there came a horrible sound of ripping, tearing, pounding, thumping, that made Gretta jump half way across the little room and then lean against the wall holding both hands to her throat, her pretty face utterly stripped of its rich color, her big eyes bigger and darker than ever as she panted: "Wh-what's that?"
Polly dropped into the nearest chair and laughed so hard that for a minute she could not speak. Before she caught her breath Happie came in and joined in Polly's mirth as she saw Gretta's face and heard the frightful racket which was keeping on as loud as ever.
The tea room of the title does not appear in the first chapter; instead, readers encounter the Patty-Pans flat and its elastic capacity for shelter. When Aunt Keren arrives, burned out of her fireproof apartment, she describes her escape with a basket of heirloom silver and a borrowed automobile coat that makes her feel like a Rogues' Gallery exhibit. The Scollard sisters respond not with questions about insurance but with embraces and offers of beds, reshuffling rooms to accommodate her. The author establishes a pattern: crises are met with immediate, practical warmth, while the humor of the situation—such as Miss Keren's wry reference to Azucena in Il Trovatore—is allowed to coexist with genuine distress.
Elastic Household, Fixed Affections
The Scollard home is defined by its ability to stretch. Mrs. Scollard's phrase “the elastic Patty-Pans can always take in another” is not mere sentiment; the chapter shows the family reconfiguring sleeping arrangements on the spot. Gretta, who occupies a former storeroom, is asked to move into the older girls' room so that Bob can take her room and Aunt Keren can have Bob's. The logistics are handled without complaint, and the only mishap is Polly dropping the sugar bowl. This elasticity is a structural principle: the family's love is a fixed quantity, but their physical space is perpetually renegotiated. The tea room, when it appears, will likely extend this principle into a commercial venture—a way of making the home's warmth available to outsiders.
Aunt Keren's Dry Counterpoint
Miss Keren Bradbury speaks in a voice distinct from the Scollards' effusive warmth. She describes her loss with a “whimsical twist of the lips” and calls her borrowed coat an “extraordinary garment” that made subway passengers stare. Her offer to winter in the Ark—the family's old furniture storage—is half-serious, and she quotes the gypsy Azucena's plea to “go back to our mountains” from Il Trovatore. This literary reference, combined with her precise account of saving “the smaller pieces of silver that had been in the family for several generations,” marks her as a character who processes disaster through irony and cultural allusion. The Scollards, by contrast, react with tears and exclamations. The tension between these modes—dry wit versus open sentiment—runs through the excerpt and likely shapes the household dynamics.
The Fire That Opens a Story
The fire is not a climax but a catalyst. Miss Keren's apartment house, “supposed to be fireproof,” is reduced to a skeleton, and she arrives with only what she carried: silver, photographs, her mother's Bible. The Scollards' first question is not about the fire's origin but about her safety. Bob, however, asks about insurance, and his mother asks how it started—two practical queries that the narrative notes but does not prioritize. The fire serves to bring Aunt Keren into the household permanently, setting up the conditions for the tea room venture. The author uses the disaster to showcase character: Miss Keren's composure under loss, the girls' immediate hospitality, and the family's ability to absorb shock without losing their domestic rhythm. The tea room, when it appears, will be built on this foundation of makeshift resourcefulness.
Readers should attend to the way the author balances multiple registers: the sentimental (Happie's “streaming eyes”), the comic (the automobile coat), and the practical (room reassignments). The tea room, when it materializes, will likely be another elastic container—a space where the family's values of hospitality and resourcefulness are tested in a commercial setting. The opening chapter establishes that for the Scollards, home is not a fixed address but a set of relationships that can expand to include anyone in need.
Sometimes Aunt Keren’s dry wit reminds me of how a quiet voice can hold more warmth than a loud one. That same feeling lingers in Joan of the Journal — Themes and Context, where the unspoken seems to carry the story forward. I found myself thinking of Joan while the girls rushed to set another plate, their fussing a sweet contrast to Keren’s folded hands.
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