The Adopting of Rosa Marie (A Sequel to Dandelion Cottage) — Inside the Classic

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Rankin, Carroll Watson, 1870-, Selss, Miriam [Illustrator], Shinn, Florence Scovel, 1871-1940 [Illustrator] Project Gutenberg 2014 Not confirmed
Humanitarianism -- Juvenile fiction; Abandoned children -- Juvenile fiction; Toddlers -- Care -- Juvenile fiction Readers of public-domain and historical texts
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Edition facts

Words 46,404
Reading time 202 min
Text sections 6

The Adopting of Rosa Marie (A Sequel to Dandelion Cottage) — Inside the Classic can be approached with a clearer sense of reading commitment from its source measurements: 46,404 words, 3 hr 22 min estimated reading time, and 6 detected text sections.

The text analysis averages about 13.2 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 “Humanitarianism -- Juvenile fiction,” connecting these edition facts with the source record’s subject description.

In this sequel to Dandelion Cottage, four friends adopt a toddler named Rosa Marie. The story contrasts their earnest plans with the practical chaos of childcare, highlighted by strained gloves, shoe-polishing brothers, and a baby who resists return.
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Editorial Edition Score 4.7/5

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Read the Text

There was no one inside. There was no fire in the battered stove. The doors of a rough cupboard opposite the window stood open, disclosing the fact that the cupboard was bare. There were no bedclothes in the rough bunk that served for a bed; no dishes on the table; no clothing hanging from the hooks on the wall. Both inside and outside the house wore a strangely deserted aspect. It seemed to say: "Nobody lives here now, nobody ever did live here, nobody ever will live here."

MABEL looked in dismay at Rosa Marie.

"Where do you s'pose your mother is?" she demanded.

It was useless, however, to question Rosa Marie. That stolid young person was as uncommunicative as what Marjory called "the little stuffed Indians in the Washington Museum." The Indians to whom Marjory referred were made of wax. Rosa Marie seemed more like a little wooden Indian. The countenance of little Anne Halliday changed with every moment; but Rosa Marie's wore only one expression. Perhaps it had only one to wear.

"I say," said Mabel, gently shaking her small brown charge by the shoulders, "where does your mother usually go when she isn't home?"

A surprised grunt was the only response.

Rosa Marie, too suddenly released, sat heavily on the ground, thoughtfully scratched up the surface and filled her lap with handfuls of loose, unattractive earth.

"Goodness! What an untidy child!" cried Mabel, snatching her up and shaking her, although Rosa Marie's weight made her youthful guardian stagger. "I wanted your mother to see you clean, for once. Here, sit on this stick of wood. I s'pose we'll just have to wait and wait until somebody comes. Well, _sit_ in the sand if you want to. I'm tired of picking you up."

Rosa Marie's home was in rather an attractive spot. The big, quiet lake was smooth as glass, and every object along its picturesque bank was mirrored faithfully in the quiet depths. The western sky was faintly tinged with red. Against it the spires and tall roofs of the town stood out sharply; but at this quiet hour they seemed very far away.

Mabel, seated on the wooden box that she had placed under the window, leaned back against the house and clasped her hands about her knees, while she gazed dreamily at the picture and listened with enjoyment to the faint lap of the quiet water on the pebbled beach.

Both Mabel and Rosa Marie had had a busy day. Both had taken unusual exercise. And now all the sights and sounds were soothing, soothing.

You can guess what happened. Both little girls fell asleep. Rosa Marie, flat on her stomach, pillowed her head on her chubby arms. Mabel's head, drooping slowly forward, grew heavier and heavier until finally it touched her knees.

An hour later, the sleepy head had grown so very heavy that it pulled Mabel right off the box and tumbled her over in a confused, astonished heap on the ground.

"My goodness!" gasped Mabel, still on hands and knees. "Where am I, anyway? Is this Saturday or Sunday? Why! It's all dark. This--this isn't my room--why! why! I'm outdoors! How did I get outdoors?"

Mabel stood up, took a step forward, stumbled over Rosa Marie and went down on all-fours.

"What's that!" gasped bewildered Mabel, groping with her hands. She felt the rough black head, the plump body, the round legs, the bare feet of her sleeping charge. Memory returned.

"Why! It's Rosa Marie, and we're waiting here by the lake for her mother. It--ugh! It must be midnight!"

But it wasn't. It was just exactly twenty minutes after seven o'clock but, with the autumn sun gone early to bed, it certainly seemed very much later. The house was still deserted.

"I guess," said Mabel, feeling about in the dark for Rosa Marie's fat hand, "we'd better go home--or some place. Come, Rosa Marie, wake up. I'm going to take you home with me. Oh, _please_ wake up. There's nobody here but us. It's way in the middle of the night and there might be _any_thing in those awfully black bushes."

But Rosa Marie, deprived of her noontide nap, slumbered on. Mabel shook her.

"Do hurry," pleaded frightened Mabel. "I don't like it here."

It was anything but an easy task for Mabel to drag the sleeping child to her feet, but she did it. Rosa Marie, however, immediately dropped to earth again. During the day she had seemed stiff; but now, unfortunately, she proved most distressingly limber. She seemed, in fact, to possess more than the usual number of joints, and discouraged Mabel began to fear that each joint was reversible.

The four girls of Dandelion Cottage return, but their new project—adopting a toddler named Rosa Marie—quickly reveals a gap between romanticized caregiving and its messy reality. The narrative voice, brisk and lightly ironic, tracks their efforts through concrete details: Mabel’s lemon-colored gloves that are too small, Jean’s repeated reminders to her brother Wallace about shoe polish, and the careful choreography of a formal call that goes awry. These small frictions accumulate into a portrait of childhood earnestness colliding with adult constraints.

Gloves, Shoes, and Social Performance

The excerpt from Chapter XVIII dwells on the girls’ preparations for a call on Henrietta Bedford. Mabel’s struggle with gloves becomes a set piece: her mother works one hand, her father the other, while rejected pairs litter the floor. The gloves are “lemon-colored frights,” a gift, and too small—yet Mabel must wear them. Dr. Bennett quips that he would “rather tackle a case of smallpox” than finish the job. The scene underscores how social rituals demand physical discomfort and parental labor. Jean’s repeated pleas for Wallace to black her shoes, met with his growled “nineteen times,” similarly show that even minor preparations require negotiation within households. Once dressed, the girls walk stiffly, Mabel’s conspicuous gloves making her “very much on her mind.” Rankin uses these material details to expose the effort behind polished appearances.

The Unreturnable Baby

The catalog lists Rosa Marie as “The Unreturnable Baby,” and the chapter titles hint at a trajectory: “Borrowed Babies,” “Returning Rosa Marie,” and “The Dark Secret.” The girls’ initial enthusiasm for mothering an Indian baby is undercut by the practical difficulties of toddler care. The frontispiece caption—“My soul, what are you, anyway?”—suggests a moment of exasperation or wonder. The text does not reveal whether Rosa Marie is successfully returned, but the tension between the girls’ desire to help and the baby’s stubborn presence drives the plot. The contrast between their orderly plans (formal calls, birthday parties) and the chaos of childcare (a baby who merges with the sidewalk, a fire) creates a pattern of thwarted intentions. Rankin’s humor emerges from this mismatch: the girls are “decidedly depressed” in their Sunday best, not triumphant.

Households as Negotiated Spaces

The story’s setting—Lakeville, with its network of families—emphasizes that children do not act alone. Aunty Jane prepares clothes, Dr. Bennett wrestles with gloves, Wallace blackens shoes under protest. Even the janitor Simmons is listed as “An Unappreciated Hero.” The girls’ agency is real but constrained by adult schedules, sibling patience, and material limits. Bettie’s father, a clergyman with “more children than money,” must remember to do cards. Mabel’s mother and father both intervene in her dressing. These interactions show that the girls’ adventures depend on a web of reluctant or willing helpers. The formal call on Henrietta Bedford—a “new girl”—introduces another household dynamic, one where French recitation and social standing matter. Rankin’s focus on these domestic negotiations gives the book its texture: not a simple tale of adoption, but a study of how children navigate the adult world through small, concrete transactions.

Readers familiar with Dandelion Cottage will find the same four girls, but the sequel shifts focus from their shared space to their shared responsibility. Pay attention to the recurring motif of hands—gloved, inky, or carrying chocolate cups—as a measure of control and its loss. The humor lies not in grand events but in the friction between intention and outcome, a pattern that rewards close reading of the girls’ interactions with parents, siblings, and each other.

There’s a tenderness in watching those four girls believe earnest planning will tame Rosa Marie’s chaos, until the baby resists return and the gloves strain. It reminded me, quietly, of the plodding earnestness of Bouvard and Pécuchet: A Tragi-comic Novel of Bourgeois Life, part 2 — A Reader’s Guide—both, in their way, tender defeats against the lovely mess of living.

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