The Motor Boys Bound for Home; or, Ned, Bob and Jerry on the Wrecked Troopship — Edition Insights

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Young, Clarence, Owen, Robert Emmett, 1878-1957 [Illustrator] Project Gutenberg 2016 Not confirmed
World War, 1914-1918 -- Juvenile fiction; Soldiers -- Juvenile fiction; Ocean travel -- Juvenile fiction; War neuroses -- Juvenile fiction Readers of public-domain and historical texts
Project Gutenberg digital edition en

Edition facts

Words 56,938
Reading time 248 min
Text sections 31

The catalog record for The Motor Boys Bound for Home; or, Ned, Bob and Jerry on the Wrecked Troopship — Edition Insights provides practical reading context through 56,938 words, 4 hr 8 min estimated reading time, and 31 detected text sections.

The text analysis averages about 14.4 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 “World War, 1914-1918 -- Juvenile fiction,” connecting these edition facts with the source record’s subject description.

In this Motor Boys installment, Ned, Bob, and Jerry face a mysterious collision in fog, a silent derelict ship, and separation at sea. The narrative contrasts wartime homecoming with survival suspense, using camouflage paint, drifting rafts, and a lone navigator to build tension.
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Editorial Edition Score 4.8/5

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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.

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gnal honor, the three boys sharing in the general praise.

“I wonder how things are going back in Cresville,” mused Ned, after a period of silence on the part of himself and Jerry.

“That’s queer! I was just thinking that same thing myself,” the taller lad exclaimed. “It will seem mighty quiet after the hail-storms we’ve been through.”

“Hail-storms is right,” agreed Ned Slade. “But it can’t be too quiet for me. All I want to do is to sit under a tree back of the house, with plenty of books and magazines to read, clean clothes--real clean clothes--to wear, a bath-tub where I know where it is, and----”

“Something to eat!” interrupted a voice behind him, and, turning, Ned and Jerry beheld their stout chum, Bob Baker, who smilingly held out some sandwiches.

“Running true to form,” murmured Ned, as he accepted one, and also a bit of chocolate candy his friend extended. “How’d you manage to do it, Bob?”

“Oh, my hypnotic eye. Just told one of the cooks I had to have something if they didn’t want the captain to read the service for burial at sea. And the cook allowed he didn’t want that to happen so soon after we’d got started. This is the result,” and Bob began munching on his share of the auxiliary rations, an example followed by Ned and Jerry.

“Am I right?” mumbled Bob, between bites.

“Right-O, Chunky!” murmured Jerry. “This touches the right spot.”

“Do you accept my amendment regarding the necessities you require on reaching home, Ned?” asked Bob, after a period of eloquent silence.

“Amendment accepted, all in favor say ‘aye!’” exclaimed Ned, adding, a moment later: “The ayes have it!”

“Didn’t see anything of Professor Snodgrass, did you?” asked Jerry of his chums, as they disposed of the last of the sandwiches and chocolate Bob had procured in some mysterious way.

“No,” answered Ned. “The last I saw of him was when he had seen to it that Gladys Petersen and Dorothy Gibbs were safely on their way home and he was packing up his pictures and specimens of bugs and things to ship to the college.”

“He said he might possibly join us on this transport,” said Bob. “And he may be here, for all we know. Looks as if everybody I ever met in France is on board.”

“Not that pretty little girl with the black hair and brown eyes you were so fond of in the restaurant--she isn’t here, is she?” asked Jerry.

“Oh, cut it out!” growled Bob. “You know what I mean.”

“But did she know what _you_ meant?” asked Ned pointedly. “You know you never could get the hang of the French words, and she used to rip them out like a drygoods clerk tearing off a yard of muslin.”

“Say, if you fellows think I’m going to rustle grub for you, and then have you insult me, you’ve got another guess and a half coming!” cried Bob hotly--so hotly, in fact, that Jerry quickly interposed.

“That’s all right, Bob,” he said quietly, laying a cautioning hand on Ned’s shoulder. “We two were just as fond of Marie as you were, only she seemed to take more of a notion to you than she did to us.”

This admission apparently brightened Bob visibly, and his anger slowly died away.

“And, going back to the original subject,” said Ned, “did either of you see the professor?”

They had not, they admitted.

“Well, we’re not likely to hear from him until we get across, then,” decided Bob.

But it was not to be long before his words were disproved.

Gathering speed, the transport moved ahead, and the craft was approaching the open sea, leaving behind, in a misty haze, the camp at Brest, when without warning she suddenly slowed up, not gradually, as if making a regular stop, but with a jar and a shudder that seemed to go through her whole structure.

“What’s that?” cried Bob, as he and his chums felt the tremors and the vibration.

“Something’s wrong!” said Ned in a low voice.

“Could we have struck a mine?” asked Bob in a half whisper, as though he feared to start a panic. “It couldn’t be a sub, could it? I thought----”

He did not finish the sentence, for in the midst of it the vessel started on again; but, to the surprise of all, she began turning slowly back toward the port she had so recently left.

The collision sequence in chapter I establishes the book's central puzzle: a troopship struck in fog by a vessel that backs away without a sound. Ned's insistence that he saw camouflage paint, not an iceberg, sets up a mystery that the officers debate with conflicting theories. The scraped paint on a broken rail becomes physical evidence, grounding the fantastic in a tangible detail.

This opening also introduces a pattern of separation. Ned's immediate concern after the crash is not the damage but the whereabouts of Bob, Jerry, and Professor Snodgrass. The narrative voice shifts between collective confusion and Ned's isolated perspective, a technique that recurs throughout the excerpts.

Camouflage and the Derelict Theory

The collision scene hinges on visual evidence. Ned sees “camouflage paint” on the striking vessel, a detail that an officer dismisses as possibly an iceberg. The argument is resolved by a physical trace: flecks of blue and white paint on a splintered rail. This forensic moment is rare in adventure fiction of the period, giving the mystery a concrete anchor.

The officer's conclusion that the ship must be a derelict raises a logical problem—how can an abandoned vessel back away? The narrative leaves this tension unresolved in the excerpt, inviting readers to question whether the ship is truly unmanned or if something else is at work. The word “derelict” recurs as a label that both explains and deepens the enigma.

The fog itself becomes a character, swallowing the other ship and isolating the Sherman. Sound is conspicuously absent: no whistle, no shouting, only the crash and then silence. This sensory deprivation heightens the unease.

Separation and the Search for Companions

Immediately after the collision, Ned's thoughts turn to his missing friends. The narrative intercuts his physical shock with the realization that Jerry, Bob, and Professor Snodgrass are not where they were moments before. This pattern of separation and reunion is a structural motif in the Motor Boys series, but here it is tied to the chaos of a wartime accident.

The officer's question—“Who else was here with you at the time?”—forces Ned to reconstruct the scene. His memory includes not only his friends but also a sailor from whom the professor was about to remove a bug. This odd detail, the bug-collecting subplot, contrasts with the life-or-death stakes of the collision, creating a tonal shift typical of the series.

Later chapter titles such as “A Waif of the Sea” and “Three on a Raft” confirm that separation drives the plot. The excerpts suggest that the boys are scattered across the ocean, each facing solitary challenges before reuniting.

Wartime Homecoming Interrupted

The book opens with the Sherman leaving Brest, cheered by soldiers who envy those sailing for home after the Great War. This celebratory mood is shattered by the collision, transforming a homecoming into a survival ordeal. The contrast between the expected joy of return and the sudden danger is sharp.

Ned's role as a witness—the only one who saw the other ship clearly—places him in a position of authority but also isolation. He must convince skeptical officers of what he saw. This dynamic echoes the broader theme of perception versus reality in wartime, where fog and camouflage obscure the truth.

The catalog subject “War neuroses” hints at psychological strain, though the excerpts do not develop it explicitly. The collision itself can be read as a metaphor for the unpredictable aftermath of war, where even the journey home carries hidden threats.

Readers approaching this book should attend to the way the narrative balances multiple threads: the mystery of the silent ship, the physical survival of the boys at sea, and the underlying tension of a homecoming that never quite arrives. The excerpts offer only fragments of the full plot, but they reveal a writer skilled at using sensory details—paint flecks, fog, silence—to build suspense. The Motor Boys' resourcefulness is tested not by enemy action but by the sea itself and the enigma of a derelict that behaves like a manned vessel.

Reading about Ned, Bob, and Jerry adrift, their quiet separation amid the fog, I remembered a different kind of isolation underground. That story of the mines, with its shared darkness and unspoken burdens, felt similarly heavy. This The Blind Brother: A Story of the Pennsylvania Coal Mines — A Closer Reading keeps surfacing in my mind, a companion to that lonely feeling of waiting for rescue.

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