The Little Grey House — Reading Companion
Edition facts
The catalog record for The Little Grey House — Reading Companion provides practical reading context through 56,734 words, 4 hr 7 min estimated reading time, and 6 detected text sections.
The text analysis averages about 17.7 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 “Family -- Juvenile fiction,” connecting these edition facts with the source record’s subject description.
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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.
Read the Text
There was a little income--very slender--of her own, and for the rest she "managed." She had been a Winslow, of Mayflower descent, and Aunt Azraella Winslow, Mrs. Grey's brother's widow--herself a Brown--said, with mingled approval and commiseration, that "when one of us, of the old stock, sets a hand to the plough the corn grows."
Sylvester Grey was a dreamer, handsome, frail, sensitive, and clever. Sometimes his teeming brain brought practical results to his family, but these crystallizations of genius were rarer than was comfortable.
Mr. Grey was perfecting a machine for making bricquettes. There was not a very clear notion in his town--Fayre--what this meant, but it was understood vaguely to be a machine which transformed the coal-dust and waste of the mines into solid little bricks for fuel. Aunt Azraella said "it was exactly like Sylvester to moon over coal-dust while Mary needed kindling-wood."
Oswyth, the oldest girl, whom he had named out of his delight in old Saxon sounds, loved her father tenderly, without understanding him; Prue, petted, pretty little Prue, young for her years, loved him a trifle impatiently, but Roberta, daring, ambitious, active Roberta, loved the dreaming father passionately, and understood that he could not feel the present pinch when visions of a greater good lured him on, understood further that no personal pinch appealed to him very strongly when science led him into her fairyland, and he felt himself her servant. And Roberta alone, of all who loved him, understood the invention to which he was giving his days and many nights, and she believed enthusiastically that some time the bricquette machine would make the family fortune and her father's glory. Yet sometimes her high courage failed, and when the makeshifts and deprivations to which the Greys were condemned bore most heavily upon her she could not help acknowledging--though only to herself--that the happy time was sadly long in coming.
But it was not one of these disheartening days when she set out to cut the grass, and Rob's heart was as gay within her as a sixteen-year-old heart should be, as she looked out on the field which she meant to make a field of victory.
Her bright, dark eyes, which were always flashing with as many changing expressions as there were minutes in the day, danced with mischief; her rippling mouth and chin--Rob's face was all ripples--looked as though the July breeze were playing with them as it played with the lush grass. With both hands she pushed back her dark hair--full of gleams of red and gold in the sunshine--as she ran down the steps and around the corner to fetch the borrowed lawn-mower, for Rob's hair was forever breaking its orderly braided bounds and turning into rakish odds and ends of curls about her brow and ears. She came back triumphantly, pushing the lawn-mower around the corner, and it rattled on the old flagged walk as she tipped it up on its rear wheels and dodged the box bordering the paths.
"Who's first?" she cried. "Age and muscle, or beauty and babyhood?"
"B. and B.," said Prue, unblushingly owning up to both facts as one well acquainted with the value of her big dark eyes and contrasting veil of golden hair, and one made thoroughly to realize that she was the youngest. "Give it to me, Rob; I want the first cut."
"'Give me the dagger!' Here you are, then, Lady Macbeth. You'll find the first cut anything but tender--you speak as if it were turkey." And Rob gave the mower-handle into Prue's eager fingers.
Prue ran lightly down the flagged walk with her prize. "I shall begin at the gate," she announced, "so if we don't quite finish it to-day people who go by can see we are beginning to get our grass cut."
Oswyth laughed and groaned. "Finish it to-day! Cut the whole place!" she exclaimed.
Oswyth, with her sweet, placid face, smooth, shining brown hair, calm blue eyes and quiet lips, was unlike either of the others. Pretty she was in her demure way, and no one minded if her soft cheeks were a bit too plump, since their tint was really the "peaches and cream" of which we read. Wythie was a most womanly and wholesome little woman, the sort of girl one sees at first glance must comfort the mother who possesses her.
The Little Grey House opens with sixteen-year-old Roberta Grey declaring she will cut the overgrown grass, drawing on her father's old gloves with a "do-or-die-in-the-attempt air." This small domestic crisis immediately establishes the family's reduced circumstances and the sisters' active, humorous approach to their troubles. The catalog subjects—family, father's death, financial security—are present from the first page, but the excerpts reveal a story more concerned with the texture of daily life and the sisters' voices than with plot mechanics. The house itself, "set in the midst of a place so wholly disproportioned to its size," becomes a character, its unkempt grounds mirroring the family's precarious state.
Sisters at Work
The three Grey sisters—Roberta, Oswyth (called Wythie), and Prue—are introduced through their contrasting attitudes toward labor. Roberta is impulsive and dramatic, borrowing a lawn-mower she suspects is useless; Oswyth is reluctant but compliant, laying down her sewing with a sigh; Prue, at fourteen, jumps up eagerly. Their dialogue is quick and affectionate, with Oswyth teasing Roberta about her metaphors: "Help walk northward through the prairie, help find the house, or help cut the grass, Rob?" The narrator notes that Oswyth finds the tall grass pretty and almost regrets cutting it, while Roberta feels no such qualms. This small disagreement hints at deeper differences in temperament that may shape their responses to later hardships.
Friends as Crutches
When the Grey sisters return from a river outing with the Rutherford brothers and their friend Frances, they find the house being mortgaged. The scene shifts from a peaceful natural setting—"wealth of nuts and the beautiful, peaceful spot, with its gorgeous colors, and damp, delicious odors"—to the tense interior where Prue reports the news in tears. The Rutherfords offer support, and Roberta responds with characteristic bravado: "We're going to regard you as crutches—a trifle long, perhaps, but by no means to be cut off." She compares their situation to a storybook, saying they "know when the lovely heroines are in mortal danger there's certain rescue on the next page." This self-conscious literary reference, combined with the handshake "like a fresh treaty of allegiance before going into battle," shows the characters framing their crisis through familiar narratives.
The Weight of a Mortgage
The excerpts include a pivotal moment: Prue overhears her father agreeing to mortgage the house. She reports this to her sisters in a stage whisper, her "golden head, much dishevelled" and voice husky. Oswyth asks "Already?" suggesting the decision was expected but still shocking. The catalog subject "Financial security" is thus dramatized not as abstract worry but as a concrete, hurried transaction. The father's impatience—"he seemed to lose all patience, and to want to have it over with"—contrasts with the daughters' anxious listening. The house itself, repeatedly called "the little grey house," becomes the tangible symbol of what is at stake. The excerpts do not reveal the outcome, but the emotional weight is clear: the family's home is being leveraged against an uncertain future.
Readers should attend to the way Taggart uses the house and its grounds as a barometer of the family's fortunes. The opening grass-cutting, the mortgage scene, and the river interlude all connect physical spaces to emotional states. The sisters' voices—Roberta's theatricality, Oswyth's quietness, Prue's vulnerability—are distinct and consistent. The excerpts suggest a novel that balances domestic detail with economic realism, though the full arc of the story remains unknown from these passages alone.
I think of the Grey sisters, making do with a scant lamp and a lighter teapot, yet their wit never dimming. That same steady spirit breathes through Clara's quiet turn in Mildred at Roselands A Sequel to Mildred Keith — Key Ideas to Explore, where girlhood meets courtesy under the same grave, patient sky. Both books ask how a kind heart shelters a house that is gently losing its roof.
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