Brought Forward — Story, Setting & Ideas

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Cunninghame Graham, R. B. (Robert Bontine), 1852-1936 Project Gutenberg 2015 Not confirmed
Fiction; Short stories Readers of public-domain and historical texts
Project Gutenberg digital edition en

Edition facts

Words 43,205
Reading time 188 min
Text sections 4

For Brought Forward — Story, Setting & Ideas, the stored edition analysis reports 43,205 words, 3 hr 8 min estimated reading time, and 4 detected text sections.

The text analysis averages about 30.1 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 “Fiction,” connecting these edition facts with the source record’s subject description.

R. B. Cunninghame Graham's 1916 collection blends travel memoir, historical anecdote, and fiction. The excerpts reveal a narrator who digresses from a Texan 'wickey-up' to Cortes's horse, weaving archival sources like Villagutierre with personal recollection. The catalog subject 'Science Fiction & Utopias' is not supported by the available text.
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Editorial Edition Score 4.6/5

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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

ath overtook him none of us could conjecture; but I liked the manner of his going off the stage.

’Tis meet and fitting to set free the horse or pen before death overtakes you, or before the gentle public turns its thumbs down and yells, “Away with him.”

Charles Lamb, when some one asked him something of his works, answered that they were to be found in the South Sea House, and that they numbered forty volumes, for he had laboured many years there, making his bricks with the least possible modicum of straw,—just like the rest of us.

Mine, if you ask me, are to be found but in the trails I left in all the years I galloped both on the prairies and the pampas of America.

Hold it not up to me for egotism, O gentle reader, for I would have you know that hardly any of the horses that I rode had shoes on them, and thus the tracks are faint.

R. B. CUNNINGHAME GRAHAM.

PAGE I. BROUGHT FORWARD 1 II. LOS PINGOS 11 III. FIDELITY 30 IV. “UNO DEI MILLE” 40 V. WITH THE NORTH-EAST WIND 51 VI. ELYSIUM 60 VII. HEREDITY 66 VIII. EL TANGO ARGENTINO 81 IX. IN A BACKWATER 97 X. HIPPOMORPHOUS 106 XI. MUDEJAR 120 XII. A MINOR PROPHET 130 XIII. EL MASGAD 146 XIV. FEAST DAY IN SANTA MARIA MAYOR 164 XV. BOPICUÁ 185

THE workshop in Parkhead was not inspiriting. From one week’s end to another, all throughout the year, life was the same, almost without an incident. In the long days of the Scotch summer the men walked cheerily to work, carrying their dinner in a little tin. In the dark winter mornings they tramped in the black fog, coughing and spitting, through the black mud of Glasgow streets, each with a woollen comforter, looking like a stocking, round his neck.

Outside the dreary quarter of the town, its rows of dingy, smoke-grimed streets and the mean houses, the one outstanding feature was Parkhead Forge, with its tall chimneys belching smoke into the air all day, and flames by night. Its glowing furnaces, its giant hammers, its little railway trucks in which men ran the blocks of white-hot iron which poured in streams out of the furnaces, flamed like the mouth of hell.

Inside the workshop the dusty atmosphere made a stranger cough on entering the door. The benches with the rows of aproned men all bending at their work, not standing upright, with their bare, hairy chests exposed, after the fashion of the Vulcans at the neighbouring forge, gave a half-air of domesticity to the close, stuffy room.

A semi-sedentary life quickened their intellect; for where men work together they are bound to talk about the topics of the day, especially in Scotland, where every man is a born politician and a controversialist. At meal-times, when they ate their “piece” and drank their tea that they had carried with them in tin flasks, each one was certain to draw out a newspaper from the pocket of his coat, and, after studying it from the Births, Deaths, and Marriages, down to the editor’s address on the last page, fall a-disputing upon politics. “Man, a gran’ speech by Bonar Law aboot Home Rule. They Irish, set them up, what do they make siccan a din aboot? Ca’ ye it Home Rule? I juist ca’ it Rome Rule. A miserable, priest-ridden crew, the hale rick-ma-tick o’ them.”

The reader then would pause and, looking round the shop, wait for the answer that he was sure would not be long in coming from amongst such a thrawn lot of commentators. Usually one or other of his mates would fold his paper up, or perhaps point with an oil-stained finger to an article, and with the head-break in the voice, characteristic of the Scot about to plunge into an argument, ejaculate: “Bonar Law, ou aye, I kent him when he was leader of the South Side Parliament. He always was a dreary body, sort o’ dreich like; no that I’m saying the man is pairfectly illiterate, as some are on his side o’ the Hoose there in Westminister. I read his speech—the body is na blate, sort o’ quick at figures, but does na take the pains to verify. Verification is the soul of mathematics. Bonar Law, eh! Did ye see how Maister Asquith trippit him handily in his tabulated figures on the jute business under Free Trade, showing that all he had advanced about protective tariffs and the drawback system was fair redeeklous . . . as well as several errors in the total sum?”

The opening pages of Brought Forward immediately establish a narrator who moves between personal memory and historical record. In the preface, Cunninghame Graham jokes about wartime egg prices and recalls a dancer’s remark about taking a benefit—or two. Then, without transition, he describes a ‘wickey-up’ in the Sierra Madre, a Navajo blanket, and a stream ‘tinkling over its pebbly bed.’ This associative style, leaping from a Texan guide’s phrase to a rock carving of an Indian chief freeing his horse, sets the tone for a work that resists easy categorization.

A Narrator Who Collects Fragments

The excerpts show a narrator who gathers details from disparate sources: a dancer’s quip, a Texan’s ‘I guess,’ a Franciscan chronicle, and Cortes’s fifth letter. He notes that Villagutierre says the black horse’s grease melted, while Cortes simply mentions a splinter in the foot. The narrator does not resolve the contradiction; he presents both, adding ‘This, of course, is true.’ This habit of juxtaposing oral anecdote, archival quotation, and personal observation suggests a method more akin to a collector than a conventional storyteller.

The rock carving described—‘an Indian chief … setting free his favourite horse’—is rendered without perspective, ‘which gave those figures … an air of standing in the clouds.’ The narrator lingers on the image, then notes a later inscription: ‘Eusebio Leal passed by bearing despatches, and the date, June the fifteenth, of the year 1687.’ The effect is a layering of time, where a 1687 traveller shares space with a prehistoric petroglyph.

The Horse as a Thread Through History

The longest excerpt traces the fate of Cortes’s black horse, El Morzillo, left behind in 1525 with a foot injury. The narrator follows the animal through Villagutierre’s 1697 account, where Franciscans Orbieta and Fuensalida arrive at Lake Peten-Itza, unaware that Cortes’s horse had been there. The horse becomes a connecting figure between the conquest and later missionary expeditions. The narrator quotes Villagutierre on the river Tipu’s ‘hidden virtue’—curing dropsy and making people eat heartily—and its 190 channels, ‘neither more nor less.’ This blend of the miraculous and the precise is characteristic of the source material the narrator chooses to include.

The narrative does not invent a dramatic reunion; it simply notes that the horse ‘was reserved for a greater destiny than ever fell to any of his race.’ The reader is left to infer what that destiny might be, as the excerpt cuts off before the Franciscans’ discovery.

Catalog Mismatch: Science Fiction & Utopias

Project Gutenberg lists Brought Forward under ‘Science Fiction & Utopias,’ yet the excerpts contain no speculative elements, future settings, or utopian schemes. The text is grounded in the Americas of the 16th to early 20th centuries, with a focus on historical figures (Cortes, Franciscan monks) and places (Sierra Madre, Yucatan). The narrator’s voice is that of a traveller and reader of old chronicles, not a futurist. The catalog subject may derive from a different story in the collection not included in the excerpts, or from a misclassification. Readers expecting science fiction will find instead a mosaic of historical anecdote and personal recollection, held together by a narrator who values the odd, the overlooked, and the unresolved.

The excerpts from Brought Forward offer a narrator who treats history as a cabinet of curiosities. He moves from a Texan wickey-up to a 1687 inscription to a horse’s melted grease, never forcing a single thesis. Readers should approach the collection as a series of linked digressions, where the pleasure lies in the detour. The catalog label ‘Science Fiction & Utopias’ is likely a mistake; the available text points toward travel writing, historical essay, and a distinctly personal form of storytelling.

The rain blurred the window as I lost myself in Cunninghame Graham's digressions, meandering from a Texan shelter to Cortés’s horse with an old archivist's calm. Afterwards, that same unhurried drift led me almost absent-mindedly to The Notting Hill Mystery — Context and Discussion, another voice weaving clues and speculation into a quiet, private puzzle.

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