Alamo Ranch: A Story of New Mexico — Context and Discussion
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This digital edition of Alamo Ranch: A Story of New Mexico — Context and Discussion is described by source-level measurements including 39,601 words, 2 hr 53 min estimated reading time, and 4 detected text sections.
The text analysis averages about 25.9 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 “Tuberculosis -- Patients -- Fiction,” connecting these edition facts with the source record’s subject description.
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Read the Text
Leon had at first found the thin air of this altitude somewhat difficult; but since time and use have accustomed his lungs to these novel atmospheric conditions, shooting on the mesa has become a part of his daily programme, and his quail, rabbits, and pigeons prove a toothsome contribution to the already excellent ranch table.
A small, shy Mexican herd-boy, pasturing his lean goats on the mesa, gradually makes friends with the tall, kindly sportsman. As they have between them but these two mutually intelligible words, _bueno_ (good) and _mucho calor_ (very warm), their conversation is circumscribed. Kind deeds are, however, more to the point than words, and go without the saying; and when Leon instructed the ragged herd-boy in the use of his bow, and made and weighted his arrows for him, he _understood_, and became his devoted henchman, following in his path all through the week-day tramps, and on Sundays coming to the ranch with clean face and hands to adore his fetich, and watch, with admiring eyes, his novel works and ways.
After a protracted interval of tranquil sunshine, a stormy wind came blustering from the west, bringing to Mesilla Valley, in its wintry train, sunless days, light flurries of snow, and general dreariness.
The boarders, weather-bound and dull, grew sullenly mutinous; and on the third of these stormy days, gathering in the ranch parlor after the mid-day meal, their discontent found vent in banning right and left this "land of sun, silence, and adobe."
"Beastly weather!" muttered the Grumbler, drawing into the stove with a discontented shiver.
"A precious sample, this, of your fine climate, Brown," jeered Bixbee, turning mockingly to the disheartened landlord, who, reckless of expense, commanded of the chore-boy fresh relays of fuel, and incontinently crammed the parlor air-tight, already red-hot.
"I say, fellows," drolled the Harvard man, "let's make tracks for Boston, and round up the winter with furnace heat and unlimited water privileges, as the house-broker has it."
"And with cut-throat plumbers thrown in," suggested the Grumbler with a malicious grin.
"See here, you folks, draw it mild," laughed the star boarder, crossing the room with a finger between the leaves of a volume which he had been reading by the dim afternoon light of this lowering day. "Here, now, is something that fits your case to a T. Let me read you how they doctored your complaint in these parts, æons before you were born."
"Anything for a change," muttered Bixbee, and, with the general consent, Leon read the following:
"'When the people came out of the cold, dark womb of the underworld, then the great sun rose in the heavens. In it dwelt Payatuma, making his circuit of the world in a day and a night. He saw that the day was light and warm, the night dark and cold. Hence there needed to be both summer and winter people.
"'He accordingly apportioned some of each to every tribe and clan, and thus it is down to the present day. Then those above (that is, the Sun-father and the Moon-mother), mindful lest the people on their long journey to the appointed abiding-place succumb to weariness and fall by the way, made for them a koshare, a delight-maker. His body was painted in diagonal sections of black and white, and his head, in lieu of the regulation feather-decorations, was fantastically arrayed in withered corn-leaves.
"'This koshare began at once to dance and tumble. Then the people laughed, and were glad. And ever from that day, in their wanderings in search of a satisfactory settling-place in the solid centre of the big weary world, the koshare led them bravely and well.
"'He it was who danced and jested to make happiness among the people. His it was to smile on the planted maize till it sprouted and flowered in the fertile bottoms, to beam joyously on the growing fruit, that it might ripen in its season.
"'From that day there have been delight-makers in all the Pueblo tribes. The koshare became in time with them an organization, as the Free-masons, or the Knights of Pythias, with us. This necessity, we are told, arose from the fact that among the Pueblos there were summer people who enjoy the sunshine, and winter people,--people who determinedly prefer to live in the dark and cold.'
"Is it not so," said Leon, turning down a leaf and closing his book, "with every people on the face of the earth?
"Is not the 'delight-maker,'--the koshare,--under various names and guises, still in demand? It has struck me," continued he, looking quizzically at this disgruntled assemblage, "that the koshare might be an acceptable addition to our despondent circle."
"Amen!" fervently responded the Methodist minister.
The novel opens with a meticulously detailed description of Alamo Ranch in late November, emphasizing the "cloudless arch of sapphire" sky and the "sunny silence" of the landscape. The narrator immediately establishes the ranch as a health resort for consumptives, where invalids sit with "sated invalid eyes" against the house-front. This opening scene sets a tone of quiet desperation, contrasting the serene setting with the residents' struggle for breath. The description of the Organ Mountains, shifting through "amethyst and violet, rosy pink, creamy gold, and dusky purple," hints at a world of beauty that remains distant from the patients' experience.
The Landscape as Character
The opening chapter devotes considerable attention to the physical environment: the alamo trees, adobe dwelling, corral with Jersey cows, alfalfa fields, and irrigating ditches. This detailed setting serves not merely as backdrop but as an active presence. The narrator notes that "any holding bigger than a kitchen garden is known as a ranch," grounding the story in local terminology. The description of the "not over-flourishing" orchard and the "meagre soil" subtly reinforces the theme of struggle. Readers should note how the landscape is rendered with both precision and emotional weight, as when the mountains are described as "great hills of sand" that take on "ever-changing light." This attention to place suggests that the environment will play a central role in the characters' lives.
The Invalid's Perspective
The opening introduces the boarders as "foredoomed children of men" fighting for breath, with some buoyed by hope and others "hopeless mortals." This direct characterization establishes a somber tone. The narrator's voice is clinical yet sympathetic, describing the struggle as "more noble heroism and praiseworthy courage than sometimes goes to victory in battle-fields." This comparison elevates the patients' daily fight. Readers should attend to how the narrative balances the beauty of the setting with the harsh reality of illness. The phrase "sated invalid eyes" suggests a weariness that may color their perception of the landscape. The opening thus primes the reader to view the story through the lens of those confronting mortality.
A Detour into Utopian Experiment
A middle excerpt shifts focus to the Shalam colony, a utopian community based on a vegetarian diet and mental healing. The narrator describes the colony's founder as rising at 3 A.M. to milk cows and prepare breakfast, with children called at 4:45. The tone becomes more observational and slightly skeptical, noting the "dietetic fad" and the founder's claim of never feeling tired. The excerpt includes a visitor's remark that a man "prancing round in pajamas" should be "put in an insane asylum." This section introduces a different voice—more reportorial and anecdotal—compared to the opening's lyrical description. Readers should consider how this interlude relates to the main narrative: it may serve as a contrast to the ranch's more conventional approach to health, or as a commentary on alternative treatments of the era.
Shifts in Narrative Voice
The Shalam section is presented as a letter or journal entry, with phrases like "We left Shalam at about five P.M." and "An irreverent member of the party thus summed up." This embedded narrative contrasts with the third-person omniscient voice of the opening. The language becomes more colloquial, with slang such as "cry quits" and "the whole business." The narrator also critiques the colony's founding text, Oahspe, calling it "a new bible" of "absurdity and fantastic assumption." This shift in register suggests that the novel may incorporate multiple perspectives or documentary styles. Readers should note how these tonal changes affect the reading experience, moving from immersive description to critical commentary.
As you read Alamo Ranch, pay attention to how the narrative moves between lyrical landscape description and more detached, observational passages. The opening establishes a mood of quiet struggle, while later sections introduce contrasting voices and settings. The Shalam episode, in particular, offers a window into contemporary utopian movements and may deepen your understanding of the novel's themes of health, hope, and human endeavor. Let the shifting tones guide your interpretation.
Reading the closing pages of Alamo Ranch, I felt the quiet ache of a story loosening its hold, and that same solitary tenderness followed me into The Last Call: A Romance (Vol. 3 of 3) — A Closer Reading. Both leave a room feeling emptier than you expected, as if the landscape itself were remembering everyone who ever passed through. There is a particular gentleness in endings that linger.
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