The Love Story of Abner Stone — Text and Context
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Before opening The Love Story of Abner Stone — Text and Context, the edition data offers a quick orientation: 28,509 words, 2 hr 4 min estimated reading time, and 3 detected text sections.
The text analysis averages about 18.7 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 “Love 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
as no flutter of wings, no piping cry. The earth rested for a spell, and a solemn quietude stole over the scented fields.
I knew that I ought to be going--that I ought to have gone long ago, but still I sat on the topmost rail of the fence, which stretched away like a many-horned worm on either side of me. Supper was already cold, but I had been a little late on several occasions before, and Mrs. Moss had very kindly laid something aside for me. I was one whom she called "a queer man who saw nothing outside of his books," and while this was not altogether true, inasmuch as I was even now missing both supper and books for another delight in which my soul revelled, still she bore with my eccentricities, and I was thankful to her. "You should fall in love, Mr. Stone," she said to me one day, half jestingly, "and that would get you out of some of your staid ways." I replied with a smile that, as she did not take young ladies to board, there was small chance of that, and had thought of her remark no more. But now, in the tender gloaming of an April day, I felt that I did love, and with as ardent a passion as any man ever owned. I loved the rich sunlight, which I had watched fade away, but which still lingered in my breast. I loved the greening of Nature, and the yellowing of her harvest. I loved the soul-expanding influence of sky and air, and the far-reaching, billowy fields. All things that grew, and all things that moved in this, God's kingdom, I loved. What else was there to love? A woman? Yes; but they lived for me only in the pages of history and romance, and it was not likely that I, a bookworm bachelor of forty-five, would ever meet the one to stir my heart. And I feared them, a little. Out here, under the sky, with no one to hear but Fido and the dumb silence, I can make this confession. I knew she lived, somewhere, the one to whom my heart would cry, because this is the plan of the Creator, but I was glad that our lines of life had not crossed.
So please Him, thus would I live content.
The last bright streamer had disappeared, but still there remained a faint, chaste glow above the dark line of hills. An unseen Hand had sown the sky thickly with stars, and more fell to their appointed places as the moments passed. A bull-frog boomed out his guttural note, and Fido began to whine and gnaw at the rail just below my feet. He was getting hungry, and I acquiesced to his wordless plea to go home. Night had now come, and the air was chilly, so I buttoned my coat close up to my chin, and moved briskly. We were some distance from home, but the lights of the city were reflected in the sky, and besides, it was not dark, because of the stars, and the road over which we went had but one end.
I ate in quiet satisfaction the lunch which Mrs. Moss had saved for me, but when I tried to interest myself in Emerson, a few minutes later, I found that one of my favorites bored me. This sudden lack of appreciation of the great essayist annoyed me, and I forced my eyes to traverse line after line, hoping that the pleasing charm which they had always held for me would return. But this policy proved futile, so at length I quietly closed the book and put it down on the table, disgusted with myself. Perhaps my mind required something in lighter vein, and there was my bookcase, with its glass doors open, as they usually were. But the delightful metre of the "Lady of the Lake" seemed halting and tame to me that night, and this volume I did not close as gently as I had the former one, but flung it carelessly on the table and walked nervously to the window and raised the sash. For a moment--only a moment--I stood there, trying to find a few stars through the curtain of factory smoke which hung overhead, and letting the cool air blow about me. Then I put the window down, and came back to my easy-chair, satisfied, for I had solved the riddle of my unrest.
Abner Stone, verging on seventy, sets out to write his love story, believing the telling may benefit the world. The narrative voice is deliberate and self-aware, acknowledging the difficulty of retracing a life's path: 'there is many a twist and angle in the highway of a life.' The opening frames the recollection as both sacred and blurred by emotion, with the narrator's failing sight and trembling hand underscoring the fragility of memory.
The excerpts center on a single evening when Stone meets Salome, a young woman whose 'perfect candor and lack of artificiality' unsettles him. Her impulsive invitation to hear Uncle Zeb's banjo leads to a scene where music, dance, and firelight dissolve social distance. Stone's physical reaction—'a strange weakness had begun to assail my limbs'—hints at the romantic tension that drives the story, though the full arc remains unknown from these passages.
Voice and Retrospection
The narrator's voice is marked by a formal, almost archaic diction—'essay the brief and simple task,' 'the chiefest blessing'—that suits a man of his era and age. Yet this formality is undercut by emotional immediacy: the page becomes 'blurred to my failing sight' as memories flood in. The preface establishes a tension between the desire to preserve a 'blessed memory' and the awareness that time distorts perspective. Stone admits that 'the things which we would forget stand out the clearest,' a wry acknowledgment of memory's selectivity. This retrospective framing invites readers to weigh the reliability of a narrator who is both participant and aged interpreter.
Gesture and Social Performance
Litsey builds character through small, precise actions. Salome's gestures—turning her head sideways, holding up a finger, placing her hand on Stone's arm—convey spontaneity and warmth. The banjo scene is choreographed with care: Uncle Zeb's rhythmic rocking, the firelight on his bald head, the deferential movement of the gathered negroes. Stone's decision to lean against the cabin wall 'partly to secure a support for myself' reveals his physical and emotional disorientation. The dance itself is not described in full, but the anticipation of the onlookers—'nudged each other, and whispered, grinned broadly'—suggests a communal ritual that bridges past and present, master and guest.
Setting as Emotional Landscape
Kentucky is not merely a backdrop but a sensory presence: 'meadows and forests,' 'dusty highways under the spell of a bygone June,' an old home 'whose floors are now pressed by an alien foot.' The locust grove behind the house, the bonfire, the cabins—these details root the love story in a specific, agrarian world. The narrator's longing is inseparable from the landscape he revisits in memory. The contrast between the formal parlor where Salome first speaks and the informal firelight circle underscores the shift from social convention to genuine connection. Stone's observation that the music 'drew me much nearer the earth' suggests that setting and emotion are intertwined, each shaping the other.
The excerpts offer a concentrated view of a courtship in progress, but the full story remains elusive. Readers attentive to the narrator's self-deprecating humor and the careful orchestration of social rituals will find a layered account of love and memory. The banjo scene, with its blend of race, class, and intimacy, invites reflection on the dynamics of a bygone Kentucky. Approach the text as a crafted reminiscence, not a transparent confession.
Rereading Abner Stone’s recollections, I noticed how he lingers on a particular chord his uncle struck once, mid-sentence. It made me think of the quiet way A Christmas Accident and Other Stories — Reading Notes holds onto small, unspoken moments—the pause before a door opens, a hand resting on a sill. Some stories simply remember light that way.
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