The Opened Shutters: A Novel — Edition Insights

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Burnham, Clara Louise, 1854-1927, Fisher, Harrison, 1875-1934 [Illustrator] Project Gutenberg 2008 Not confirmed
Young women -- Fiction; Love stories; Casco Bay (Me.) -- Fiction Readers of public-domain and historical texts
Project Gutenberg digital edition en

Edition facts

Words 89,068
Reading time 388 min
Text sections 11

The source record for The Opened Shutters: A Novel — Edition Insights measures this digital text at 89,068 words, 6 hr 28 min estimated reading time, and 11 detected text sections.

The text analysis averages about 12.8 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 “Young women -- Fiction,” connecting these edition facts with the source record’s subject description.

Clara Louise Burnham's 1906 novel follows Sylvia Lacey's summer in Casco Bay, Maine, where a new boat named 'The Rosy Cloud' and the attentions of Judge Trent and cousin Thinkright signal shifts in her fortunes. The narrative voice blends dry humor with precise observation of social dynamics.
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Editorial Edition Score 4.8/5

Calculated from edition completeness, EPUB availability, text structure and catalogue metadata. Not a user rating.

How this score is calculated
  • 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

That was less than a month ago, but already Calvin Trent had changed his mind. Should he lose young Dunham, he would regret it.

He regarded John now as the clean-shaven profile bent over a lengthy document. The judge had the small man's admiration for the stature and build of his assistant. He liked the sunshine of his smile, the steady gaze of his eyes. The young man's personality had impressed him from the first; but it was after the judge had proved the temper of his mind and quickness of his perception that he allowed these physical advantages to take their place as valuable assets.

"The boy's well born, and well raised," he said to himself. "I suppose he's some kind of a fool, he's too young not to be; but there's no sign of it yet."

It was very pleasant not to have to hurry to the office in the morning, and not to be obliged to furnish all the brains that were supposed to be accessible in this home of the law.

After a few minutes' silence Judge Trent looked up again from his steaming shoes.

"Ever been in love, Dunham?" he asked suddenly.

The young lawyer raised his eyes, with evident effort to bring his attention from the subject in hand, and regarded the quaint face and figure of his employer.

The vagueness of his stare caused the judge to stir and cough with some embarrassment.

"Oh, no matter, of course. I just happened to think of it. When I was your age I had it bad: thought if I couldn't have that one girl life wouldn't be worth living." The speaker's foot slipped on the radiator, and he readjusted his chair.

"Just happened to meet her out there a minute ago;" he jerked the tall hat in the direction of the street.

"That must have been rather startling." Dunham had by this time collected his ideas.

"Oh, no. We've both always lived here; she's kept tab on me ever since; kind of puts the burden of proof on me to show that I can get along without her, if you understand."

"And you've shown her, eh?"

"You've never married, I believe?"

John did not have to assume an interest. This spare little man was small only in physique. He was an object of interest to any and every ambitious young lawyer.

"No, never did." Judge Trent shook his head, and rocked his tilted chair gently. "I might count up the number of kitchen fires I've escaped building on cold winter mornings; the number of nocturnal rambles I've escaped taking with shrieking infants doubled up with the colic--and then there are my books! What would have become of my books! My fair one was the pizen-neat kind. She would have dusted them and driven me to drink!"

Dunham smiled. "And yet those are scarcely facts with which you can reassure her," he remarked.

Judge Trent caught the younger man's eye with a sympathetic twinkle.

"Precisely; and the sad consequence is that she has never been entirely reassured. Her name's against her, poor girl--Martha. Careful about many things."

"Then you had no successor?"

"No, and affairs piled up. I had too much to attend to to renew the attack. I didn't have time to smooth down her ruffled feathers, so--the result is that we've each flocked alone. Just as well, just as well," continued the speaker, musingly. "What I was thinking of just now was how many different lives we seem to live in one; how our tastes change; and at best how few illusions are left to lawyers regarding marriage."

"In other words, you're a confirmed old bachelor. What was it you asked me a minute ago--if I were in love?"

"Yes, or if you had been."

"Have been dozens of times,--am not," returned Dunham, with the smile that his employer liked.

"Just so, just so," the latter answered quickly. "We change. Read First Corinthians, seventh chapter, and if you take Paul's advice and don't pass the Rubicon, then you 'll be free to change as often as you please."

Dunham looked up again. "Are you a Bible student, Judge Trent?"

"Student of everything," returned the lawyer, with a short wave of his thin hand.

"All books except woman's looks, eh?" answered Dunham, returning to his papers.

"I said I had no successors," remarked the judge, regarding his gaiters musingly. "I'm not at all sure of that. Miss--Martha was a very attractive woman. My impression is that in any case she preferred to concentrate all her faculties upon watching to see that I didn't get into mischief."

"That's faithfulness, I'm sure," returned Dunham. "The necessity for building those kitchen fires wouldn't exist now," he added suggestively.

"Young man, no levity," returned the judge.

The novel opens with Judge Trent in his private office, his gaitered feet propped against a steam radiator, reluctant to remove his silk hat. This small, recurring detail—the judge's attachment to his hat—becomes a quiet signature of his character. Burnham's prose is economical and exact, favoring concrete gestures over exposition. The arrival of a second desk signals a change in the judge's routine, and the young man seated there suggests a shift in the story's center of gravity.

The excerpts reveal a narrative voice that moves between dry humor and tender observation. When Sylvia discovers the name of her new boat, 'The Rosy Cloud,' her blush and the phrase 'He was aiming high' carry a weight that the other characters sense but cannot fully interpret. Burnham lets the reader share Sylvia's private understanding while leaving the other characters—and the reader—curious about its full meaning.

A Voice That Watches and Winks

The narrator of The Opened Shutters maintains a consistent, slightly ironic distance. When Miss Martha Lacey complains about her boatman Benny's change of position, Benny replies, 'Thought yew mightn't care to squat on that rock all night,' and the narrator adds, 'he drawled imperturbably.' The humor is dry and character-driven, never forced. The same voice reports that Judge Trent's hat is 'spotlessly clean' yet 'smoothly brushed'—a contradiction that hints at the judge's fastidiousness and his odd blind spot.

Burnham also uses free indirect discourse to blend the narrator's observations with a character's thoughts. When Sylvia looks at The Rosy Cloud, the narrative notes: 'It was Love expressed to her again; and the guest she had tried with gentleness to win, sweet Humility, sank deeper into her heart.' The personification of 'Humility' as a guest is characteristic of Burnham's style—abstract qualities become tangible, almost domestic, presences in the character's inner life.

Pace and the Weight of a Name

The excerpts show a deliberate variation in pace. Early scenes in Judge Trent's office move slowly, with attention to posture and setting: the tipped chair, the radiator, the hat. Dialogue is sparse, and the narrative lingers on small actions. Later, when Sylvia sees the boat, the pace quickens. Short sentences—'Sylvia gazed, then she colored'—create a moment of emotional intensity. The name 'The Rosy Cloud' becomes a pivot point, drawing together multiple characters' reactions: Sylvia's blush, Miss Lacey's sharp curiosity, Thinkright's pleased evasion.

Burnham often uses a single object to concentrate the narrative's energy. The boat's name is not explained; instead, the reader watches the characters watch each other. The pace slows again as Sylvia lingers to examine her light oars, allowing the reader to feel the weight of the gift. This rhythm—accumulation of detail, then a sudden focus—gives the prose a quiet, almost tidal movement, appropriate to a story set on the Maine coast.

Setting as a Character's Mirror

Casco Bay is not merely a backdrop. The excerpts show characters defined by their relationship to the water and the shore. Miss Martha Lacey 'crept gingerly along the slippery rocks' and worried about the boat tipping; Benny Merritt is laconic and competent, attuned to the tide's indifference to human schedules. The boat The Rosy Cloud is both a physical object and a symbol of the judge's regard for Sylvia, but Burnham grounds it in practical details: the neat black letters, the light oars, the 'old general utility tub' that preceded it.

The setting also shapes the narrative's pacing. The journey to Hawk Island involves 'beating some' against the wind, a phrase that echoes the characters' own oblique progress toward understanding one another. Burnham does not describe the landscape in long, lyrical passages; instead, she embeds it in action and dialogue. The tide that 'didn't wait' becomes a minor comic antagonist, and the rocks and boats are never merely picturesque—they are surfaces to be navigated, literally and emotionally.

Readers attentive to the interplay of voice and pace will find that Burnham's novel rewards careful attention to its small, precise details. The hat that never gets brushed, the boat name that provokes a blush, the tide that ignores instructions—these are not decorations but the story's true architecture. The narrative moves like the water it describes: sometimes still, sometimes quick, always carrying the characters toward a horizon that remains, for now, just out of sight.

Reading The Opened Shutters, I kept thinking about how Sylvia’s quiet summer rearranges her whole sense of belonging, the way a change of scenery can loosen old knots. It reminded me of another story where a modest shift—a new suit, of all things—does something similar for a man’s confidence. Skinner's Dress Suit — Story, Setting & Ideas holds that same gentle, observant humor about small transformations. Funny how a boat or a coat can feel like hope.

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