The Cricket — A Reader’s Guide

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Cooke, Marjorie Benton, 1876-1920, Williams, J. Scott (John Scott), 1877-1975 [Illustrator] Project Gutenberg 2008 Not confirmed
Family -- Fiction; Girls -- Fiction Readers of public-domain and historical texts
Project Gutenberg digital edition en

Edition facts

Words 67,590
Reading time 294 min
Text sections 8

The Cricket — A Reader’s Guide can be approached with a clearer sense of reading commitment from its source measurements: 67,590 words, 4 hr 54 min estimated reading time, and 8 detected text sections.

The text analysis averages about 11.2 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 “Family -- Fiction,” connecting these edition facts with the source record’s subject description.

Marjorie Benton Cooke's novel follows headstrong Isabelle, whose fierce resistance to a birthday party and longing for a 'barbarian' life reveal a voice that shifts from defiant outbursts to quiet endurance. The excerpts show a narrative pace that slows for intimate scenes of emotional struggle, particularly with the Quaker Benjamins.
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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.

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Read the Text

There was an uproar from below, louder than before. Wally looked out.

"I wonder what they're up to," he said.

A maid, red and flustered, appeared at the door.

"Oh, Mrs. Bryce, please come down to the party. Isabelle ran away with Patsy and we've just found her."

Mrs. Bryce, oblivious of her costume, followed Mr. Bryce and the maid down the stairs, as fast as possible. Evidently a crisis had occurred below. All the girls in their white dresses and pink or blue sashes, all the boys in their white collars of ceremony, were grouped about on the lawn, around the base of a big shade tree. Pink hair bows were a-flutter with excitement. The patent leather pumps of the boys trod upon the white slippers of the little girls in their efforts to see what was happening.

At the foot of the tree stood Miss Wilder red and tired, speaking sternly to some one overhead. Mr. and Mrs. Bryce rushed to join her, brushing children aside.

"What is the matter, Miss Wilder?" demanded Mrs. Bryce.

"Oh, Mrs. Bryce, she's--she's----"

"Isabelle Bryce, come down here this moment," commanded her mother, loudly.

There was a whispered colloquy overhead, among the branches.

"That wretched Patsy is with her," wailed Miss Wilder. "They ran away, and hid for hours, and then we found them up here."

"Isabelle!" shouted her father.

"All right. We're going to drop," said a voice from above.

Suddenly two white and shining little bodies hung side by side from a limb, then two naked youngsters dropped into the midst of the astounded party.

"Isabelle Bryce!" gasped her mother.

"We're playing barbarian," said Isabelle, coolly; "Miss Wilder told me about them."

"Miss Wilder!" protested Wally.

"But I didn't--I mean--I----"

"You said they lived in trees and never wore clothes."

The children began to titter.

"This is your affair, I believe, Wally," remarked Mrs. Bryce, and she walked in a leisurely way into the house.

"Oh, I say," he called after her; then: "Get her indoors, will you? Who's the boy?"

"The gardener's child, Patsy."

"Where are your clothes?" he demanded.

"Up in the tree, sorr," said the boy.

"Get them, and cut home," said Wally, severely.

Patsy obeyed, but Isabelle resisted force. "I won't hurry and I won't be carried, I'll walk," said she, and--properly clad in her "birthday clothes"--Isabelle Bryce disposed of her first party!

Following upon the exit of his daughter came the realization to Wally that something must be done about the "party." He turned to the group of children, huddled together in horror, like butterflies in a rain storm. Serious and large-eyed, they focussed their attention upon him, in the apparent belief that, being a parent, he would be able to handle this unprecedented situation. They ranged in age from three to six; they were the children of his neighbours and life-long associates; and yet Wally had the feeling that he was hemmed in by a pack of alert, curious little animals.

"Well, children," he managed to say, "I'm sorry that Isabelle was such a naughty girl at her own party, but she is only four years old, we must remember, and I suppose she did not know any better."

"I'm free an' a half, an' I don't take off my cloves at a party," bragged one of the female infants.

"No, I'm sure you don't. It isn't done," said Wally, helplessly.

"She always spoils parties. I wanted not to have her at mine, but mother made me," remarked Tommy Page.

"Hard luck, old man," said Wally.

"She always wants to boss everything," Margie Hunter complained.

"Are you going to whip her?" demanded another child.

"She will be punished, believe me," replied Wally, firmly. "But I think we'd better call the party over."

"We can't go yet, the nurses and chauffeurs haven't come," Tommy protested. "I'd like to hear her yell when she's licked."

"Our man will take you all home in the big station wagon, so get on your hats," Wally ordered.

Fifteen minutes later the smallest child was packed in, with one of the maids in command, and the motor slid off down the drive, leaving Wally on the door step.

"Little beasts!" he remarked, feelingly.

In the hall he met Miss Wilder, still bearing marks of the late excitement.

"I have put Isabelle to bed, Mr. Bryce. Mrs. Bryce says that you are to prescribe her punishment."

Wally looked his misery.

"I don't want to punish her. Can't you manage it alone?" he said.

"No, I cannot. Isabelle needs the authority of her parents now and then to back me up," said Miss Wilder, severely.

"Well, I'll have a talk with her."

"I think a severe spanking is what she needs."

From the opening chapter, Isabelle's voice is unmistakable: 'I won't have it! I won't have it!' she shouts, rejecting her birthday party and declaring she'd rather live with 'bar-barbarians.' The dialogue crackles with her defiance, as she parries Miss Wilder's calm spelling lesson with stubborn curiosity. But the narrative does not stay at this pitch. Later scenes with Mr. and Mrs. Benjamin shift to a quieter, more measured register, where Isabelle's suffering is conveyed through physical detail—'a white face,' 'dark circles about her eyes'—and the Benjamins' gentle Quaker speech, marked by 'thee' and 'thou.' The pace slows markedly in these passages, allowing the reader to feel the weight of Isabelle's internal conflict.

A Voice That Shifts from Shout to Silence

The excerpts reveal two distinct vocal registers. In Chapter One, Isabelle's language is explosive: she 'shouted, wildly,' and her sentences are short, repetitive, and absolute ('I won't have it!'). Miss Wilder's replies are measured, even pedantic, as she spells 'b-a-r-b-a-r-i-a-n' to distract the child. This contrast creates a tense, almost theatrical rhythm. Later, with the Benjamins, Isabelle's speech becomes sparse and choked. She 'nodded without a word,' and her responses shrink to 'I can't eat' or 'I'll try.' The narrative voice itself shifts, adopting the Benjamins' Quaker diction ('thee,' 'thou') and a more reflective tone: 'Sorrow goes so deep with them, at this age.' This change in pace—from rapid-fire argument to slow, weighted exchange—marks Isabelle's emotional journey from rebellion to grief.

The Weight of Unspoken Feeling

Cooke often lets silence carry the emotional load. When Mr. Benjamin asks Isabelle to obey her mother, the text notes: 'He felt the young body under his hand shudder with the effort for control.' No words are given; the shudder says everything. Similarly, after Mrs. Benjamin offers a future refuge, Isabelle 'bent and kissed the kind hands that held her own, but she shed no tears.' The narrative lingers on these wordless moments, slowing the pace to a near standstill. Physical details—'the very sun-brown seemed to have been seared off by suffering'—replace dialogue. This technique contrasts sharply with the earlier scenes of verbal sparring, suggesting that Isabelle's deepest feelings are those she cannot voice.

Pace as a Marker of Relationship

The tempo of scenes varies with each relationship. With Miss Wilder, exchanges are quick, almost stichomythic: 'Do they have children?' / 'Yes.' / 'Where do they live?' The rapid back-and-forth mirrors Isabelle's restless energy. With the Benjamins, the pace decelerates. Sentences grow longer, filled with qualifiers and gentle repetitions: 'I understand what a blow this is to thee, and how unhappy it makes thee.' Mr. Benjamin's speech is unhurried, his hand 'steadying' on Isabelle's shoulder. Even the narrative summaries slow down: 'She took her part in the duties and pleasures of the days. But the Benjamins' loving eyes marked a change.' This shift in rhythm underscores the Benjamins' patient, Quaker approach, offering Isabelle a space where her turmoil can be held, not answered.

Readers attentive to shifts in tempo will find that Cooke uses pace to map Isabelle's inner life: the frantic, defiant child of the opening gives way to a girl who 'looked off over the hills and merely nodded.' The Benjamins' deliberate speech and the narrator's lingering on physical details create a counterpoint to the earlier volatility. Watching how the prose slows when Isabelle is most hurt offers a way into the novel's emotional architecture.

The rain kept me indoors with The Cricket — A Reader’s Guide, its pages lingering on Isabelle’s stubborn quietness. That same hush, that waiting under language, drifted into my thoughts of the Quaker Benjamins. By evening I reached for Burl — Reading Companion, almost without deciding to, curious how another voice might hold its silences.

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