Three Sides of Paradise Green — Inside the Classic

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Seaman, Augusta Huiell, 1879-1950, Relyea, C. M. (Charles M.), 1863-1932 [Illustrator] Project Gutenberg 2016 Not confirmed
Diary fiction; Girls -- Juvenile fiction; Mystery fiction; New England -- Juvenile fiction Readers of public-domain and historical texts
Project Gutenberg digital edition en

Edition facts

Words 51,786
Reading time 226 min
Text sections 5

Before opening Three Sides of Paradise Green — Inside the Classic, the edition data offers a quick orientation: 51,786 words, 3 hr 46 min estimated reading time, and 5 detected text sections.

The text analysis averages about 15.9 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 “Diary fiction,” connecting these edition facts with the source record’s subject description.

This editorial note examines how the opening, middle, and later excerpts of Augusta Huiell Seaman's 1918 diary-mystery guide a first reading, focusing on the journal's framing, the narrator's voice, and the gradual introduction of a historical puzzle.
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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.

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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.

Edition quality

Read the Text

There was a cosy group gathered about the open fire in the Birdseys' big, comfortable, and not too tidy living-room. At a large center table, drawn close to the blaze, sat Carol and Sue, scribbling away for dear life in two large, fat note-books and covering the table with many trial sheets of mathematical figuring. They were exact opposites in appearance. Sue was tall and slim to the point of angularity. She had dark eyes, and her dark hair was coiled heavily about her head. Carol was short and plump, with dreamy blue eyes and wavy auburn hair that still hung in a thick braid.

On the davenport, curled up like a kitten in one corner, sat the Imp, or "Bobs," as she was generally called,--her chin propped in her hands, a book balanced against her knees. In sharp contrast to the other two girls was her tiny body and dark, straight hair, and the big blue eyes that could at one moment gaze with liquid, angelic candor, and at the next snap with impish mischief. There was mischief in them at the moment, as she stared reflectively at the two girls bent over the table. Unaware of her gaze, they scribbled on, comparing notes at intervals.

"Do you get the answer 4ab(ab+2bm) ½ to your third problem?" presently inquired Sue, without looking up.

"No, I don't!" moaned Carol in depressed tones, pushing aside her work and running her fingers through her hair. "I don't get anything at all."

"Well, don't worry. Let's see what's wrong. Hand over your work and I'll compare it with mine," said her companion soothingly. She dragged Carol's note-book toward her and compared it with her own.

"Oh, I see what you've done!" she exclaimed in a moment. "In the first equation you didn't put down--"

At this instant the Imp, whose eyes had been smoldering with suppressed mischief, yawned loudly, stretched herself, and remarked with apparent irrelevance:

"It's a long day when you don't go to school, isn't it?"

Both girls sat up with a jerk and surveyed her sternly.

"Do you mean to say that you haven't been to school to-day?" they demanded in a breath, and Sue added, "I'd like to know why not."

"I had a bad headache this morning, Susan," explained the Imp sweetly. "Mother let me stay home. I was all right by two o'clock, though. Louis and I had a game of basketball before it began to rain."

Her companions glanced at each other with a meaning expression, none of which was lost on the Imp. With a grin of satisfaction, she proceeded:

"His aunt called him in just before we finished, and he didn't come out again."

With a visible effort, Sue inquired:

"Did he say why he wasn't at school to-day? We thought it rather queer when he didn't come, but perhaps, after the strange thing that happened yesterday--"

This was precisely the trap into which the Imp had planned that they should fall.

"I didn't ask him," she remarked, with exasperating calm.

"No doubt you didn't," retorted Carol heatedly, "but perhaps he told you without being asked."

"Perhaps he did," returned the Imp, "and perhaps he told me a lot more. However, I must say bye-bye for the present. I've got to go and study my lessons somewhere where I won't be disturbed!"

She scrambled down and sailed out of the room, waving airily to them from the doorway.

"Isn't she simply maddening!" exclaimed Sue. "The idea of saying she had to go and study! I never knew her to study a thing in my life. She seems to know her lessons by instinct."

"But what _do_ you suppose Louis told her?" mused Carol.

"Not much, or I miss my guess," returned Sue. "She's only trying to tease us. But it is strange that he stayed home to-day. Something serious must be the matter. He hasn't missed a day this term before."

"But if it was serious," argued Carol, "why should he be out playing with the Imp?"

At this moment the door opened and a tall, slender boy of seventeen or eighteen strolled in, his hands in his overcoat pockets, his cheeks and overcoat still wet with the driving rain.

"Hello, girls!" he remarked, warming his hands by the blaze of the open fire.

"Hello, Dave!" they replied. "Where did you come from?"

"Been over to Louis's. Queer thing about it, too," he commented, dropping down on the vacant davenport.

"What?" they gasped in breathless chorus.

He looked at them inquiringly.

"Why all the astonishment on _your_ part?" he demanded. "What do you know about it, anyway?"

"Oh, a lot of queer things seem to be happening to Louis lately," explained Carol. "But go on! Tell us all about it."

The journal begins with a specific classroom prompt: Miss Cullingford, the English instructor, urges her students to keep a record of “the things that happen around us and our ideas about people.” The narrator, one of two girls, initially protests that nothing interesting occurs in their quiet life. This opening not only establishes the diary format but also sets up a tension between ordinary life and the mystery that will soon disrupt it. Readers are immediately placed inside a first-person voice that is colloquial, self-aware, and occasionally petulant—a voice that will shape how clues and conflicts are filtered.

A Journal Born from a Classroom Assignment

The first excerpt reveals that the journal is not a spontaneous decision but a direct response to a teacher’s suggestion. The narrator explicitly contrasts her own record with “the kind of diary affair that some people keep,—all about the weather and the number of jars of jam they put up.” This meta-commentary signals that the text will be selective and event-driven. The teacher’s influence also introduces a literary self-consciousness: the narrator is aware she is creating a document that might be of interest. The opening pages thus serve as a framing device, alerting readers to pay attention to what is deemed worth recording—and what is omitted.

Voice and Character Through Diary Entries

The narrator’s voice is distinctive: she uses dashes, exclamations, and colloquial phrases like “the Imp” (a nickname for a third girl). Her tone shifts from enthusiasm to frustration, as when she reports being called “children” by the Imp in a patronizing manner. The diary format allows for immediate emotional reactions—anger, pride, curiosity—without the filter of retrospection. Readers see the narrator’s limited perspective in real time. For instance, she admits being “too tired to write much more” but still includes a crucial detail about the Imp’s cryptic remark. This technique keeps the reader close to the narrator’s evolving understanding, making the mystery unfold as she discovers it.

The Gradual Emergence of a Historical Puzzle

By the middle excerpts, the diary has moved beyond daily trivialities into a layered mystery involving a portrait, a “Monsieur,” and references to the dauphin. The narrator and her friend Carol research history, but the Imp claims to have uncovered “three points” they have missed. The mystery is not presented all at once; it emerges through conversations, library research, and the characters’ rivalries. The setting—a “shut-off spot around the Green”—creates a contained world where small discoveries feel significant. The diary entries record both progress and dead ends, such as the two-week gap with “nothing special” happening. This pacing mirrors the slow, uneven process of investigation.

Tension Between Collaboration and Rivalry

The relationship among the three girls is central to the narrative’s dynamic. The narrator and Carol work together, but the Imp—who is “still his favorite” of Monsieur—alternates between ally and antagonist. The diary captures the sting of the Imp’s condescension: “You were trying to be patronizing, weren't you?” The girls’ competition for knowledge and status adds a social layer to the intellectual puzzle. Readers must weigh each girl’s reliability and motives. The narrator’s frustration is palpable, yet she concedes, “I can't help but believe the Imp.” This tension suggests that the resolution may depend on cooperation—or on one girl’s hidden knowledge.

As you read, note how the diary form shapes what you learn and when. The narrator’s voice is your only window; her biases, gaps, and emotional reactions are part of the evidence. Pay attention to what she chooses to record—and what she dismisses as unimportant. The mystery unfolds not through omniscient narration but through the limited, sometimes unreliable perspective of a young diarist. This structure invites you to read between the lines, comparing the narrator’s interpretations with the clues she provides.

Reading Three Sides of Paradise Green again, I found myself lingering on how Seaman lets the diary’s blank spaces speak louder than its entries. That quiet patience—waiting for a puzzle to reveal itself—reminded me of the gentle trust in Joan of the Journal — Themes and Context, where her voice waits, too, like an old friend letting you find your own way at your own pace. It felt familiar, like a porch light left on. Joanie wasn’t in a hurry either.

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