That Girl Montana — Reading Companion
Edition facts
That Girl Montana — Reading Companion can be approached with a clearer sense of reading commitment from its source measurements: 110,060 words, 7 hr 59 min estimated reading time, and 12 detected text sections.
The text analysis averages about 16.5 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 “Western stories,” connecting these edition facts with the source record’s subject description.
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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.
Read the Text
"Well, by the help of either her red gods or devils, she can swim, anyway!"
This explosive statement was made one June morning on the banks of the Kootenai, and the speaker, after a steady gaze, relinquished his field-glass to the man beside him.
"Can she make it?" he asked.
A grunt was the only reply given him. The silent watcher was too much interested in the scene across the water.
Shouts came to them--the yells of frightened Indian children; and from the cone-shaped dwellings, up from the water, the Indian women were hurrying. One, reaching the shore first, sent up a shrill cry, as she perceived that, from the canoe where the children played, one had fallen over, and was being swept away by that swift-rushing, chill water, far out from the reaching hands of the others.
Then a figure lolling on the shore farther down stream than the canoe sprang erect at the frightened scream.
One quick glance showed the helplessness of those above, and another the struggling little form there in the water--the little one who turned such wild eyes toward the shore, and was the only one of them all who was not making some outcry.
The white men, who were watching from the opposite side, could see shoes flung aside quickly; a jacket dropped on the shore; and then down into the water a slight figure darted with the swiftness of a kingfisher, and swam out to the little fellow who had struggled to keep his head above water, but was fast growing helpless in the chill of the mountain river.
Then it was that Mr. Maxwell Lyster commented on the physical help lent by the gods of the red people, as the ability of any female to swim thus lustily in spite of that icy current seemed to his civilized understanding a thing superhuman. Of course, bears and other animals of the woods swam it at all seasons, when it was open; but to see a woman dash into it like that! Well, it sent a shiver over him to think of it.
"They'll both get chilled and drop to the bottom!" he remarked, with irritated concern. "Of course there are enough of the red vagabonds in this new El Dorado of yours, without that particular squaw. But it would be a pity that so plucky a one should be translated."
Then a yell of triumph came from the other shore. A canoe had been loosened, and was fairly flying over the water to where the child had been dragged to the surface, and the rescuer was holding herself up by the slow efforts of one arm, but could make no progress with her burden.
"That's no squaw!" commented the other man, who had been looking through the glass.
"It's no squaw, I tell you," insisted the other, with the superior knowledge of a native. "Thought so the minute I saw her drop the shoes and jacket that way. She didn't make a single Indian move. It's a white woman!"
"Queer place for a white woman, isn't it?"
The man called Dan did not answer. The canoe had reached that figure in the water and the squaw in it lifted the now senseless child and laid him in the bottom of the light craft.
A slight altercation seemed going on between the woman in the water and the one in the boat. The former was protesting against being helped on board--the men could see that by their gestures. She finally gained her point, for the squaw seized the paddle and sent the boat shoreward with all the strength of her brown arms, while the one in the water held on to the canoe and was thus towed back, where half the Indian village had now swarmed to receive them.
"She's got sand and sense," and Dan nodded his appreciation of the towing process; "for, chilled as she must be, the canoe would more than likely have turned over if she had tried to climb into it. Look at the pow-wow they are kicking up! That little red devil must count for big stakes with them."
"But the woman who swam after him. See! they try to stand her on her feet, but she can't walk. There! she's on the ground again. I'd give half my supper to know if she has killed herself with that ice-bath."
The novel opens with two hunters at a Kootenai River station, where the arrival of a girl named ’Tana sparks talk of a gold find and a murder suspicion. This prologue establishes a pattern: the story moves between remote wilderness—canoes, Indian camps, hunting grounds—and the encroaching iron road of the Great Northern. The narrative itself shifts scenes abruptly, from river landings to mountain cabins, mirroring the restless travel of its characters.
Ryan uses recurring images—gold that becomes a burden in fever dreams, water that turns to gold in a sick girl’s delirium—to link material desire with physical and psychological strain. The excerpts show a world where every clearing holds a new encounter, and every character carries undisclosed knowledge.
Shifting Ground: Movement Between Wilderness and Settlement
The story’s geography is defined by constant motion. The prologue places us at a river station where the Kootenai River meets the railroad—a boundary between wild and civilized. Characters arrive by canoe, depart by train, and the narrative follows them into forests, along creeks, and into tents. The camps are temporary: a tent for the sick girl, a cabin for Harris, a canoe for Akkomi. Even the gold mine is a rumor, a hinted-at location. This restlessness is not just setting; it shapes how information is revealed. Conversations happen in transit—on a riverbank, at a ferry, in a doorway—and are often interrupted by new arrivals. The reader, like the characters, never settles long in one place.
Gold and Water: Recurring Images of Desire and Delirium
Gold appears not only as a mineral but as a psychological force. In the sick girl’s fever, she speaks of gold that is “too heavy a load for her to carry” and that “ran in streams where she tried to find water to drink and could not.” The image conflates thirst with greed: the precious metal replaces water, becoming undrinkable. This inversion recurs when the narrative describes gold as something that “Dan thought was better than friends or their pretty camp.” The material desire corrupts relationships and health. Water, by contrast, is a medium of travel and a source of life, but in the fever it fails. The juxtaposition suggests that the pursuit of wealth in this frontier world carries a cost that the landscape itself reflects.
Silence and Suspicion: The Role of Unspoken Knowledge
Characters in the excerpts withhold information deliberately. Akkomi, the old Indian, knows more about Harris’s past than he reveals: “Akkomi good friend to little sick squaw and to you; but he not tell—not tell all things.” His evasiveness is matched by Harris’s own “voiceless mutterings of anger” and his eagerness to hear more. The narrative builds tension through what is not said. The prologue’s suspicion that ’Tana may have killed a man is never confirmed in the excerpts; it remains a rumor. This structure of partial disclosure—where characters hint at secrets but do not explain—creates a web of doubt. The reader must piece together motives from gestures, silences, and fragmented dialogue.
Voice and Dialect: Marking Social Boundaries
Ryan distinguishes characters through speech patterns. The opening hunters speak in a polished, observant tone (“a most picturesque variety”), while the ranchman replies with laconic frontier brevity (“Likely”). Akkomi’s English is simplified and marked by repetition (“maybe so,” “no good”), and his thoughts are rendered in a distinct cadence. The sick girl’s delirium is a stream of repetitive, image-laden phrases. These vocal contrasts do more than indicate origin; they signal who holds knowledge and who is excluded. The educated strangers ask questions; the locals answer obliquely. The narrative voice itself shifts between descriptive passages and dialogue, but never fully adopts any one character’s perspective, keeping the reader at a slight remove.
Readers attentive to the interplay of landscape and language will find that Ryan’s novel rewards close attention to its transitions—between scenes, between speakers, between what is said and what is withheld. The excerpts suggest a story built on movement and ambiguity rather than straightforward resolution. Approach the text as a series of encounters, each carrying its own weight of implication.
Years after first meeting Marah Ellis Ryan’s Montana, I still recall how gold-dust and river-water kept mingling at the story’s edge, never quite separate. That same patient blurring—of one element into another—lives quietly in The Cricket — A Reader’s Guide, where perception itself seems to shimmer. Some books simply share a way of listening, like old friends who have never needed to compare their nights.
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