That Pup — A Closer Reading
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For That Pup — A Closer Reading, the stored edition analysis reports 14,034 words, 1 hr 2 min estimated reading time, and 2 detected text sections.
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Project Gutenberg metadata also associates the work with “Dogs -- Fiction,” connecting these edition facts with the source record’s subject description.
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on was pleased; then he was surprised; then he was worried. He hadn't ordered a dog. The more he thought about it the more he worried.
“If I could just _think_ who sent it,” he said to Brownlee, “then I would know who sent it; but I can't think. It is evidently a valuable dog. I can see that. People don't send cheap, inferior dogs twelve hundred miles. But I can't _think_ who sent it.”
“What worries me,” he said to Brownlee another time, “is who sent it. I can't _imagine_ who would send me a dog from New York. I know so many people, and, like as not, some influential friend of mine has meant to make me a nice present, and now he is probably mad because I haven't acknowledged it. I'd like to know what he thinks of me about now!”
It almost worried him sick. Murchison never did care for dogs, but when a man is presented with a valuable dog, all the way from New York, with $2.80 charges paid, he simply _has_ to admire that dog. So Murchison got into the habit of admiring the dog, and so did Mrs. Murchison. From what they tell me, it was rather a nice dog in its infancy, for it was only a pup then. Infant dogs have a habit of being pups.
As near as I could gather from what Murchison and Mrs. Murchison told me, it was a little, fluffy, yellow ball, with bright eyes and ever-moving tail. It was the kind of a dog that bounces around like a rubber ball, and eats the evening newspaper, and rolls down the porch steps with short, little squawks of surprise, and lies down on its back with its four legs in the air whenever a bigger dog comes near. In color it was something like a camel, but a little redder where the hair was long, and its hair was like beaver fur--soft and woolly inside, with a few long hairs that were not so soft. It was so little and fluffy that Mrs. Murchison called it Fluff. Pretty name for a soft, little dog is Fluff.
“If I only _knew_ who sent that dog,” Murchison used to say to Brownlee, “I would like to make some return. I'd send him a barrel of my best melons, express paid, if it cost me five dollars!”
Murchison was in the produce business, and he knew all about melons, but not so much about dogs. Of course he could tell a dog from a cat, and a few things of that sort, but Brownlee was the real dog man. Brownlee had two Irish pointers or setters--I forget which they were; the black dogs with the long, floppy ears. I don't know much about dogs myself. I hate dogs.
Brownlee knows a great deal about dogs. He isn't one of the book-taught sort; he knows dogs by instinct. As soon as he sees a dog he can make a guess at its breed, and out our way that is a pretty good test, for Gallatin dogs are rather cosmopolitan. That is what makes good stock in men--Scotch grandmother and German grandfather on one side and English grandmother and Swedish grandfather on the other--and I don't see why the same isn't true of dogs. There are numbers of dogs in Gallatin that can trace their ancestry through nearly every breed of dog that ever lived, and Brownlee can look at any one of them and immediately guess at its formula--one part Spitz, three parts greyhound, two parts collie, and so on. I have heard him guess more kinds of dog than I ever knew existed.
As soon as he saw Murchison's dog he guessed it was a pure bred Shepherd with a trace of Eskimo. Massett, who thinks he knows as much about dogs as Brownlee does, didn't believe it. The moment he saw the pup he said it was a pedigree dog, half St. Bernard and half Spitz.
Brownlee and Massett used to sit on Murchison's steps after supper and point out the proofs to each other. They would argue for hours.
“All right, Massett,” Brownlee would say, “but you can't fool _me_. I Look at that nose! If that isn't a Shepherd nose, I'll eat it. And see that tail! Did you ever see a tail like that on a Spitz? That is an Eskimo tail as sure as I am a foot high.”
“Tail fiddlesticks!” Massett would reply. “You can't tell anything by a pup's tail. Look at his ears! _There_ is St. Bernard for you! And see his lower jaw. Isn't that Spitz? I'll leave it to Murchison. Isn't that lower jaw Spitz, Murchison?”
Butler opens with a neighborly complaint: Murchison wants to get rid of a dog. The narrator, speaking in a colloquial, confiding tone, immediately establishes the story's comic rhythm—a series of absurd episodes delivered with straight-faced logic. The pup Fluff arrives by express from New York, a mystery that sets the plot in motion. Butler's humor relies on the contrast between the narrator's matter-of-fact reporting and the increasingly improbable events, such as Fluff pulling up a hydrant or attempting to fly when a gun is fired.
The Unreliable Narrator's Deadpan Delivery
The narrator presents himself as a neighbor who has heard the story from Murchison and Brownlee, creating a chain of hearsay that distances the reader from direct action. This layered narration allows Butler to exaggerate without claiming firsthand knowledge. For instance, when describing Fluff's arrival, the narrator says, "As near as I could gather from what Murchison and Mrs. Murchison told me, it was a little, fluffy, yellow ball." The qualifier "as near as I could gather" signals that the account may be embellished. The narrator's tone remains earnest even as he reports that Fluff "jumped six feet straight into the air" and dragged a hydrant away. This deadpan delivery is the engine of the comedy: the more outlandish the feat, the more calmly it is reported.
Escalating Absurdity Through Repetition
Butler structures the humor around a pattern of escalation. Each character's attempt to deal with Fluff—whether shooting, training, or simply tolerating—results in a more ridiculous outcome. Brownlee tries to make a duck dog of Fluff; the dog responds by trying to fly. The narrator tries to shoot Fluff; the dog pulls up the hydrant and flees. The repetition of failed solutions, each more absurd than the last, builds a cumulative effect. The characters themselves become part of the joke: they rationalize Fluff's behavior with elaborate explanations. Massett argues that Fluff's flight shows intelligence—"he tries to fly. Gets right up and tries to fly"—turning a failure into a sign of cleverness. This pattern of rationalization mirrors the narrator's own deadpan logic, reinforcing the story's comic voice.
Voice and Pace: The Rhythm of Anecdote
Butler's prose mimics oral storytelling, with short, punchy sentences and frequent interruptions. The narrator often breaks off to address the reader directly: "Think of that! Twelve hundred miles in a box, with a can of condensed milk tied to the box and 'Please feed' written on it." These asides create a conversational pace, slowing the narrative to savor each absurd detail. The dialogue, too, is clipped and repetitive, as when Murchison worries, "If I could just think who sent it," then repeats the same concern. This verbal tic reinforces the characters' obsession. The pace quickens during action sequences—Fluff's escape is described in a rapid series of verbs: "jumped," "pulled," "went away," "took." The contrast between the leisurely, anecdotal framing and the sudden bursts of motion gives the story its distinctive rhythm.
Readers should attend to the way Butler uses the narrator's limited perspective to amplify the comedy. The story never reveals Fluff's inner life; the dog remains an opaque force of nature, interpreted only through the baffled reactions of the townspeople. This restraint is key to the humor: the more the characters try to explain Fluff, the more inexplicable he becomes. The tale rewards attention to the subtle shifts in tone—from worry to admiration to resignation—that mark each failed attempt to control the pup.
Reading about that pup’s chaos reminded me of my old neighbor’s beagle, who once ate an entire birthday cake and then looked smug about it. There’s something tender in watching trouble unfold without judgment. The Man Who Did the Right Thing: A Romance — Text and Context gave me that same quiet warmth, like laughing at a mistake we can’t help but love.
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