The Staying Guest — Edition Insights

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Wells, Carolyn, 1862-1942, Smith, W. Granville (Walter Granville), 1870-1938 [Illustrator] Project Gutenberg 2014 Not confirmed
Orphans -- Juvenile fiction; Girls -- Juvenile fiction; Aunts -- Juvenile fiction; Families -- Juvenile fiction Readers of public-domain and historical texts
Project Gutenberg digital edition en

Edition facts

Words 44,562
Reading time 194 min
Text sections 7

The catalog record for The Staying Guest — Edition Insights provides practical reading context through 44,562 words, 3 hr 14 min estimated reading time, and 7 detected text sections.

The text analysis averages about 17.5 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 “Orphans -- Juvenile fiction,” connecting these edition facts with the source record’s subject description.

An orphan girl nicknamed Ladybird arrives at Primrose Hall and upends the orderly lives of her two elderly aunts. The story follows her negotiations with their rules, her climbing escapades, and her insistence on defining hospitality on her own terms.
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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

She was so much younger than her sisters that they had petted her as a child, and had taken great pleasure in her girlish enjoyments. But when she left them, with only a note to say she had eloped with Jack Lovell, their hearts hardened, and they now rarely mentioned her, even to each other.

And so year after year the trunks of Lavinia's clothing had been looked over and put in order, with no reference to their future disposition, until now Miss Priscilla concluded the time had come.

But when they shook out the old-fashioned gowns, the lovely taffetas and organdies and embroidered muslins did seem inappropriate to send to people who were suffering for plain, substantial clothing.

"Oh, my!" said Mrs. Dolan's granddaughter, her eyes as big as saucers, as she looked at the beautiful show, "ain't them just elegant! I wisht I was a fire-sufferer, or a freshet victim."

"How well I remember Vinnie in that flowery frock," said Miss Dorinda; "she looked like a spring blossom herself, she was so pretty and fresh."

Miss Dorinda sighed; but Miss Priscilla shut her teeth together with a snap, and returned the dresses to their trunks and shut down the trunk-lids with a snap, and the cleaning of the attic went on again.

Except during an interval for luncheon, the workers worked all day, and at five o'clock the attic was cleaned, and the procession filed down-stairs again.

"Deary me," said Miss Dorinda, as she reached her own room, "how tired I am! I believe I grow older every year. Are you tired, sister?"

"Yes; but I'm so thankful that the attic is done. When that's over I always feel like singing the long-meter doxology."

"Well, I'm too tired to sing; I'll rest a bit before dinner."

Dinner at Primrose Hall was rather an elaborate meal, and was always served promptly at six o'clock. Old Josiah Flint had been very particular about his household appointments and habits, and since his death his daughters had made no changes.

After dinner the ladies always went to the library and read the village newspaper, or dozed over their knitting-work until bedtime.

But one evening in early June this routine was interfered with, by the arrival of a letter bearing a foreign postmark. It was addressed in what was evidently a man's hand, and the two good ladies were greatly excited. Miss Dorinda felt a pleasant flutter of anticipation, but Miss Priscilla felt a foreboding that something disagreeable was in the letter, and she hesitated before she opened it.

"It's postmarked 'London,'" she said. "Do we know any one in London? Maria Peters went there once, but she came back, and anyway, she's dead."

"Open it, sister," implored Miss Dorinda. And after scrutinizing it thoroughly once more, Miss Priscilla did open it.

"It is signed 'Thomas J. Bond,'" she exclaimed, looking at the signature. "Now, can it be Tom Bond who was old Jonathan Bond's son? His mother was a Coriell."

"Read it, sister," said Miss Dorinda.

So Miss Priscilla read the letter aloud, and this is what it said:

Miss Priscilla Flint, Dear Madam:

During a recent visit to India I learned that a friend of mine, Jack Lovell, was living at Bombay, and I went there to see him. But it was my sad experience to reach his home the day after he had died from a sudden attack of fever. He left a little child, who told me that her mother had been dead many years, and, indeed, the poor child seemed utterly alone in the world. I tried to find out from Lovell's papers something about his effects, but as he was of a roving and careless disposition, everything was left at sixes and sevens, and I am afraid there is no provision for the child. Therefore, since Jack's wife was your sister, I think the right thing to do is to send the little girl to you at once. And if I can find any money or property belonging to her I will advise you later.

My wife and I brought her from India to London with us, and I will send her to you on the next steamer.

Trusting that this letter will insure her a kindly reception, I am

Yours very respectfully, Thomas J. Bond.

To say that after reading this remarkable letter Miss Priscilla appeared surprised, amazed, astounded, excited, irritated, angry, umbrageous, furious, or even to say that she was in a state of high dudgeon, would give but an inadequate idea of the indignation shown in her face and manner.

But she only said, "She cannot come!" and snapped her teeth shut in the way she always did when very decided.

The story opens with a precise, almost architectural description of Primrose Hall and its two maiden occupants, Priscilla and Dorinda Flint. The narrator’s voice is direct and slightly arch, telling readers exactly what to expect from a lady named Priscilla Flint: “Tall, straight, thin, stiff, formal, prim, smug, demure.” This pattern of naming and then amplifying a character’s traits recurs throughout the excerpts, creating a rhythm of expectation and playful subversion.

Into this rigid household arrives Ladybird, an orphan who announces herself with the simple declaration, “I’m Ladybird, and I’ve come to stay.” The contrast between her impulsive, physical energy and the aunts’ measured decorum drives the early chapters. Ladybird’s movements—climbing shelves, hiding in linen, crying with volcanic force—are described in vivid, almost mechanical detail, as if the narrator is cataloging each disruption.

Climbing as Negotiation

Ladybird’s first major confrontation with her aunts ends with her perched on the top shelf of a linen closet, “pillowing her head on the dog, and the dog on a pile of sheets.” The scene is typical of the book’s structure: a dispute escalates, Ladybird retreats upward, and the aunts must negotiate her descent. The physical height becomes a metaphor for her stubbornness. When Aunt Priscilla orders her down, Ladybird responds, “the shelves will come down if I try,” turning her disobedience into a practical problem. The aunts, bound by their own rules of order, cannot simply drag her down; they must send for a step-ladder. This pattern of vertical escape and reluctant rescue repeats, suggesting that Ladybird’s power lies in occupying spaces the adults cannot easily reach.

The Logic of Hot Waffles

After the closet incident, Ladybird’s mood shifts abruptly when promised “hot waffles and syrup for supper.” The narrator notes, “Every one knows the comforting qualities of hot waffles and syrup,” treating the food as a universal emotional reset. This moment reveals a recurring structural device: a domestic reward or concession that rebalances the story’s conflict. Ladybird does not simply accept the aunts’ terms; she bargains. When offered a children’s party, she first refuses, then reconsiders after the waffles. Her reasoning is practical: she wants a party of “a few people that you can really enjoy,” not a formal dozen. The aunts’ notion of hospitality as duty clashes with her insistence on pleasure. The waffles are not just a treat but a narrative lever that allows the story to pivot from punishment to negotiation.

Voices in Dialogue

The excerpts reveal a consistent pattern in dialogue: Ladybird speaks in short, declarative sentences, often interrupting or contradicting her aunts. Aunt Priscilla uses formal, imperative language (“Come down, Lavinia”; “Don’t be silly”), while Aunt Dorinda softens commands with endearments (“Well, dearie”). Ladybird’s responses are rarely apologetic; she explains her crying as a necessary process: “I always have to cry until my tears are all gone.” This matter-of-fact self-awareness contrasts with the aunts’ exasperation. The narrator also inserts wry commentary, such as “Ladybird had no intention of responding to their repeated call,” which aligns the reader with the girl’s perspective. The dialogue thus serves not only to advance plot but to define each character’s verbal territory: the aunts’ rules versus Ladybird’s logic.

Recurring Images of Containment and Escape

Throughout the excerpts, Ladybird is repeatedly placed in or seeks out enclosed spaces: the linen closet, the top shelf, the sofa in the sitting-room. These are not punishments but chosen retreats. The aunts’ house itself is described as a “great white colonial affair” that has “belonged to the Flint family for generations,” suggesting a structure of inherited rules. Ladybird’s movements—climbing, hiding, then emerging—mirror the story’s rhythm of conflict and resolution. Even her dog, Cloppy, is carried into these spaces, a silent companion in her negotiations. The illustrations listed in the contents reinforce this: “Up a Tree,” “In the Apple-tree,” “Ladybird’s flying figure.” The physical world of Primrose Hall is a series of vertical obstacles and hiding places that Ladybird navigates with “monkey-like agility,” turning the aunts’ orderly home into a landscape of tactical retreat.

Readers attentive to the interplay of dialogue and physical action will find that Ladybird’s climbs and bargains are never random; they follow a logic of cause and effect that the narrator makes explicit. The story rewards attention to small details—a promised waffle, a threatened step-ladder—as signals of how power shifts between the characters. The excerpts suggest a work that balances sentiment with a dry, observational humor, and that uses domestic settings as arenas for quiet rebellion.

Reading about Ladybird climbing the ivy at Primrose Hall brought back the summer I spent rearranging my grandmother’s bookshelves, convinced I knew better than her order. That stubborn, affectionate chaos felt familiar. Another book once gave me that same ache — The Trail of the Green Doll A Judy Bolton Mystery — Key Ideas to Explore — where a girl’s curiosity keeps nudging at quiet boundaries, and I remember wishing I could step inside her world too.

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