Basil Everman — Text and Context

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Singmaster, Elsie, 1879-1958 Project Gutenberg 2014 Not confirmed
United States -- Social life and customs -- 19th century -- Fiction; College teachers -- Fiction; Interpersonal relations -- Fiction Readers of public-domain and historical texts
Project Gutenberg digital edition en

Edition facts

Words 77,262
Reading time 336 min
Text sections 8

Before opening Basil Everman — Text and Context, the edition data offers a quick orientation: 77,262 words, 5 hr 36 min estimated reading time, and 8 detected text sections.

The text analysis averages about 13.1 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 “United States -- Social life and customs -- 19th century -- Fiction,” connecting these edition facts with the source record’s subject description.

In Elsie Singmaster's novel, the catalog subjects of college teaching and 19th-century social customs are present but secondary to a tense domestic drama. The excerpts reveal a story centered on Richard Lister's strained relationships with his mother, father, and Cora Scott, with the college campus serving as a backdrop for personal conflict rather than academic life.
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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.

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

There was neither strife nor envy between Waltonville's classes. Mrs. Lister respected Mr. Underwood, the storekeeper, but did not invite him to dinner, and Mrs. Underwood would have been greatly disturbed at the prospect of entertaining Mrs. Lister.

The old house, in whose exact center Mrs. Lister stood when she called Richard, had been built sixty years earlier for her father, President Richard Everman, and had descended to his son-in-law and successor. It was a broad, pleasant house with high ceilings and with woodwork of solid oak. One side of the first floor was divided into library and sitting-room and the other into dim, long double parlors. Dining-room and kitchen were in a wing at the back.

On a level with Mrs. Lister the bedrooms opened each with an elaborately dressed and inviting bed, dim in the pleasant light which filtered in through bowed shutters. Above in the third story were other bedrooms and a large, otherwise empty attic in which stood the reservoir which held the supply of water for the house. As a little girl, she had come with her two companions, her brother Basil and Thomasina Davis, to steal short peeps at the tank in which they could easily have been drowned. She was the only one of the three who was really afraid. Thomasina insisted upon running boldly into the room and little Basil was found afterwards there alone. Basil's desire to investigate was always keener than his fear of danger.

Having waited for ten minutes, Mrs. Lister now returned to her post in the hall, and raised her voice in three successive calls. At the last impatient summons, the piano in the parlor ceased its clangor with a series of great chords, rolling under a fine, clear touch from the lowest of the yellowed keys to the uppermost treble. In the bass the tones were indescribably mournful, as though the aged instrument cried out in pain under the strong fingers of youth; in the treble they sounded a light cackle, half childish, half senile, like the laughter of an old man. The piano, bought years ago for Basil, resembled an old man in many ways; its teeth were yellow, it creaked as though rheumatism had taken a permanent abode in its joints, and it was swathed in a covering of warm red felt. Though it was the only object in Mrs. Lister's house which was not exactly adapted to the use to which it was put, and though it reminded her of misery, she would not have dreamed of selling it or of giving it away of of exchanging it for another instrument, any more than she would have sold or given away or exchanged an aged relative. A piano once was a piano forever, and no dismal sound from its depths, no fierce sarcasm from Richard could depreciate it in her eyes.

"Richard!" Before the player had righted the piano stool or had closed the square lid over the yellowed keys, Mrs. Lister called again.

He took the stairway in four great leaps, the last of which his mother stepped aside to avoid. But she did not escape the bear's hug with which he grasped her. He was a tall, spare young fellow, scarcely more than a lad, with crisp, light hair and dark eyes.

"Yes, mother! Yes, mother! Yes, mother!"

"Your cap and gown are there on my bed, and you must change your tie and do it quickly."

"The procession will form in one half-hour, mother, and they can't possibly begin till I tune up. I have half a mind to be late so I can see 'em squirm." Richard took the tie from his mother's hand and stationed himself before the glass in her bedroom, where the walnut furniture was heaviest and most elaborately carved. "Think of it, my last morning in chapel! No more eight o'clocks! No more Pol Econ, no more Chemistry, no more worthless stuff of any sort!"

"I hope you know your speech _thoroughly_, Richard."

"I could never memorize well, and I was always frightened when I had to say a piece in school. Aren't you at _all_ nervous?"

"Not at all. I'm cool-headed and cold-hearted. _Morituri te salutamus_, that is, 'We, about to die, salute you!'"

"You are not going to say that, Richard!"

The catalog subjects for Basil Everman—United States social life and customs in the 19th century, college teachers, and interpersonal relations—suggest a broad historical or academic focus. Yet the excerpts depict a story that is far more intimate and tense. The opening chapter places us in the Lister household on Richard's graduation day, but the narrative quickly narrows to the strained dynamics between Richard, his mother, and Cora Scott. The college president's home is not a site of intellectual celebration but of watchful anxiety and social maneuvering.

A Domestic Stage, Not an Academic One

Despite the catalog listing “college teachers” as a subject, the excerpts show little of teaching or learning. Dr. Lister, the college president, appears mostly as a background figure, absorbed in his books. The real action occurs in parlors and on porches. Mrs. Lister stands “at the head of the stairs” calling impatiently; later, she invites Cora to supper, and the evening becomes a study in discomfort. Richard answers “in monosyllables,” then abruptly leaves. The college campus is merely the setting for these domestic scenes, not their focus.

Social Customs as Instruments of Tension

The catalog notes “social life and customs,” and the excerpts do show parties, calls, and suppers. But these are not quaint customs; they are weapons. Mrs. Scott “patterned her conversation after that of Utterly” and uses visits to pry about Richard. Mrs. Lister endures her society because she must. When Cora comes to supper, she arrives “prettily dressed and ready with her little fund of small talk,” but Richard’s coldness turns the event into a trial. Social rituals here expose rather than conceal conflict.

Interpersonal Relations: A Web of Unspoken Pain

The catalog’s “interpersonal relations” is accurate but understated. The excerpts are dense with unexpressed emotion. Richard’s mother is “stricken numb and dumb” by his behavior; Cora’s eyes show “cruel pain”; she later “wilted a little” after her brave front. Mrs. Scott’s “ferret eyes” seem to pierce Cora’s soul. The characters communicate through silences, evasions, and small gestures. The narrative voice stays close to their internal states, making the reader feel the weight of what is left unsaid.

The excerpts offer no glimpse of Basil Everman himself, despite the title. The story appears to revolve around Richard Lister and the women in his life, with Basil perhaps a figure from the past or a source of comparison. Readers should approach the novel expecting a psychological drama of manners, not a broad historical panorama. The catalog subjects provide a frame, but the real interest lies in the characters’ hidden tensions and the cost of social performance.

I finished Basil Everman — Text and Context the other evening, and found myself lingering on how quietly the domestic tensions overshadowed the campus backdrop. That same feeling of old, unresolved moral weight pulled me toward The Washer of the Ford: Legendary moralities and barbaric tales — Key Ideas to Explore, where the tales seem to carry a similar patience for human fault, though under a stranger, older sky. One book rather led into the other without my planning it.

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