The Making of Bobby Burnit Being a Record of the Adventures of a Live American Young Man — Text and Context
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The Making of Bobby Burnit Being a Record of the Adventures of a Live American Young Man — Text and Context can be approached with a clearer sense of reading commitment from its source measurements: 95,976 words, 6 hr 58 min estimated reading time, and 31 detected text sections.
The text analysis averages about 17.2 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 “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
That was all. Bobby turned squarely to survey the frowning Johnson and the still beaming Applerod, and with a flash of clarity he saw his father's wisdom. He had always admired John Burnit, aside from the fact that the sturdy pioneer had been his father, had admired him much as one admires the work of a master magician--without any hope of emulation. As he read the note he could seem to see the old gentleman standing there with his hands behind him, ready to stretch on tiptoe and drop to his heels with a thump as he reached a climax, his spectacles shoved up on his forehead, his strong, wrinkled face stern from the cheek-bones down, but twinkling from that line upward, the twinkle, which had its seat about the shrewd eyes, suddenly terminating in a sharp, whimsical, little up-pointed curl in the very middle of his forehead. To corroborate his warm memory Bobby opened the front of his watch-case, where the same face looked him squarely in the eyes. Naturally, then, he opened the other lid, where Agnes Elliston's face smiled up at him. Suddenly he shut both lids with a snap and turned, with much distaste but with a great show of energy, to the heavy statement which had all this time confronted him. The first page he read over laboriously, the second one he skimmed through, the third and fourth he leafed over; and then he skipped to the last sheet, where was set down a concise statement of the net assets and liabilities.
"According to this," observed Bobby with great show of wisdom, "I take over the business in a very flourishing condition."
"Well," grudgingly admitted Mr. Johnson, "it might be worse."
"It could hardly be better," interposed Applerod--"that is, without the extensions and improvements that I think your father would have come in time to make. Of course, at his age he was naturally a bit conservative."
"Mr. Applerod and myself have never agreed upon that point," wheezed Johnson sharply. "For my part I considered your father--well, scarcely reckless, but, say, sufficiently daring! Daring is about the word."
Bobby grinned cheerfully.
"He let the business go rather by its own weight, didn't he?"
Both gentlemen shook their heads, instantly and most emphatically.
"He certainly must have," insisted Bobby. "As I recollect it, he only worked up here, of late years, from about eleven fifty-five to twelve every other Thursday."
"Oftener than that," solemnly corrected the literal Mr. Johnson. "He was here from eleven until twelve-thirty every day."
It was Applerod who, with keen appreciation, hastened to advise him upon this point.
"Said 'yes' twice and 'no' twelve times. Then, at the very last minute, when we thought that he was through, he usually landed on a proposition that hadn't been put up to him at all, and put it clear out of the business."
"Looks like good finessing to me," said Bobby complacently. "I think I shall play it that way."
"It wouldn't do, sir," Mr. Johnson replied in a tone of keen pain. "You must understand that when your father started this business it was originally a little fourteen-foot-front place, one story high. He got down here at six o'clock every morning and swept out. As he got along a little further he found that he could trust somebody else with that job--_but he always knew how to sweep_. It took him a lifetime to simmer down his business to just 'yes' and 'no.'"
"I see," mused Bobby; "and I'm expected to take that man's place! How would you go about it?"
"I would suggest, without meaning any impertinence whatever, sir," insinuated Mr. Johnson, "that if you were to start clerking----"
"Or sweeping out at six o'clock in the morning?" calmly interrupted Bobby. "I don't like to stay up so late. No, Johnson, about the only thing I'm going to do to show my respect for the traditions of the house is to leave this desk just as it is, and hang an oil portrait of my father over it. And, by the way, isn't there some little side room where I can have my office? I'm going into this thing very earnestly."
Mr. Johnson and Mr. Applerod exchanged glances.
"The door just to the right there," said Mr. Johnson, "leads to a room which is at present filled with old files of the credit department. No doubt those could be moved somewhere else."
Bobby walked into that room and gaged its possibilities. It was a little small, to be sure, but it would do for the present.
The novel begins with a striking will that declares Bobby Burnit a fool, setting a tone of ironic self-awareness. The opening chapter establishes Bobby as a young man who, despite being raised for idle wealth, is forced into business. His immediate visit to Agnes Elliston and the encounter with Nick Allstyne hint at romantic and social tensions. The will's blunt language and Bobby's determined, if naive, response frame the story as a comedy of manners and a coming-of-age tale.
The Will as a Narrative Device
The will of old John Burnit is not merely a plot device but a character sketch. Its phrasing—"I am profoundly convinced that my son is a fool"—is both harsh and affectionate, suggesting a father's regret. This opening gambit immediately defines Bobby's predicament: he must prove himself without knowing the full extent of his inheritance. The will's secrecy about the trust creates suspense, as readers wonder what safety net exists. This structure mirrors the classic "rags to riches" arc but with a twist: Bobby starts with a store, not a fortune.
Bobby's Impulsive Generosity
In the middle excerpt, Bobby encounters the Neapolitan Grand Opera Company, a down-on-their-luck troupe. His reaction—offering to help, then quickly agreeing to back their show—reveals his impulsiveness and good nature. The dialogue with Signorina Caravaggio is lively, with her blunt assessment of the company's state: "The chorus is the rattiest-looking lot you ever saw." Bobby's willingness to act without full consideration contrasts with the business acumen he must develop. This scene also introduces a cast of colorful characters, from the ex-champion boxer Biff Bates to the opera singers, enriching the novel's social tapestry.
The Role of Secondary Characters
Characters like Biff Bates and the opera troupe serve more than comic relief. Biff's instant rapport with Signorina Caravaggio, discussing his boxing victory, shows how Bobby's world intersects with diverse social spheres. The "confusion of tongues" at the Hotel Larken emphasizes the chaotic, multicultural environment Bobby navigates. These interactions test his adaptability and foreshadow the challenges of managing a business. The novel uses these minor figures to reflect Bobby's growth, as he learns to balance generosity with practicality.
Narrative Voice and Humor
Chester's narrative voice is wry and observational. Phrases like "it was like him, however, that he should continue straight to the quaint old house" reveal character through action. The humor arises from understatement and situational irony, as when Bobby gravely introduces Biff to the artists. The author avoids moralizing, instead letting Bobby's choices speak. This tone, consistent across excerpts, suggests a novel that critiques but also celebrates its protagonist's earnestness. The illustrations by Flagg and Gruger likely complement this visual comedy, though the text stands on its own.
Readers should attend to how Bobby's early failures and successes shape his character. The novel's episodic structure—each chapter presenting a new venture or obstacle—invites attention to recurring motifs like the will's conditions and Agnes's critical gaze. Chester balances satire with sympathy, making Bobby's journey both entertaining and instructive. For a first reading, focus on the interplay between Bobby's intentions and outcomes, as the narrative rewards careful observation of detail.
Somewhere between Bobby Burnit’s first bold plans and his quieter later choices, I kept thinking how character shows itself less in grand gestures than in what we endure. That same slow revelation lives in Robin Tremayne A Story of the Marian Persecution — Edition Insights, where faith gets tested not by one dramatic moment, but by the long, worn patience of ordinary days. Both books feel like old friends sharing their scars.
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