Ann Arbor Tales — Reading Notes
Edition facts
Ann Arbor Tales — Reading Notes can be approached with a clearer sense of reading commitment from its source measurements: 63,743 words, 4 hr 38 min estimated reading time, and 7 detected text sections.
The text analysis averages about 14.9 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 “Short stories, American,” connecting these edition facts with the source record’s subject description.
Calculated from edition completeness, EPUB availability, text structure and catalogue metadata. Not a user rating.
How this score is calculated
- 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 only one who seemed to see the end--Crowley--Houston's room-mate, nearest pal--as unlike him as white is unlike black, and therefore, perhaps, more fondly loving. It was because he loved him as he did that Crowley saw--saw the end as clearly as he saw the printed page before his eyes, and shuddered at the sight. He saw a brilliant mind dethroned; a splendid body ruined; a father killed with grief--and seeing, thus, he was glad that Houston's mother had passed away while he was yet a little, brown-eyed, red-cheeked boy.
His misgivings heavy upon his heart, he spoke of them to Florence. At first, her eyes glinted a cold harsh light, but as he talked on and on, fervently, passionately, that light went out, and another came that burned brighter, as he cried:
"Oh, can't something be done? _Something?_"
They walked on a way in silence, and then she said, quietly, as was her manner, always: "Do you think I could help?"
He seized her hand and she looked up into his eyes, smiling.
"Oh, if you could!" he cried; and then: "Would you try?" But before she could answer he flung down her hand saying: "But no, you couldn't; what was I thinking of!"
They were walking by the river to the east, where, on the right, the hill rose sheer--a tangle of vivid green--from the heart of which a spring leapt and tinkled over smooth, white pebbles, to lose itself again in the earth below, bubbling noisily.
At his expression, or, more at the tone he employed in its utterance, she shrank from him, and then, regardless of her steps, sped half-way up the hill, beside the spring course. There she flung herself upon a mossy plot, face down.
Crowley called to her from the road, but she did not answer; he went to her, and stooping touched her shoulder. Her whole body, prone before him, quivered. She was crying.
He talked to her a long time, there in the woodland, silence about them save for the calls of the birds.
She turned her wet eyes upon his face.
"Oh, to think every one doubts me!" she murmured. "You laughed at me when I asked you if I could help--you think I'm only a toy-like girl--a sort of great cat to be fondled always."
She seized a stick, broke it impetuously across her knee and rose before him.
"I will help!" she cried, "I will--and you'll see what I'll do!"
Afterward--long afterward--he remembered her, as she was that moment--her golden hair tumbling upon her shoulders; her eyes blazing, her glorious figure erect, her white hands clenched at her sides.
So it was Crowley--Jim Crowley the penitent, yet the sceptical--who brought them together, just as it was Crowley who waited, who counted the days, who watched.
From the walk he saw them on the tennis courts one evening a week later.
Unobserved he watched their movements; the girl's lithe, graceful; Houston's, strong, manly. He was serving and Crowley noted the swift sweep of his white arm, bare almost to the shoulder, and was thrilled. Florence had slipped the links in her sleeves and rolled her cuffs back to dimpled elbows and her forearms were brown from much golf.
Crowley approached the players after a moment and they joined him at the end of the net. The flush on the girl's face gave her beauty a radiance that he could not recall ever having noticed before. Usually Florence was marbly calm. Houston was warm, glowing.
"Gad, you're a fine pair; I've been watching you," Crowley blurted.
The girl shot him one swift glance, then her lips parted over her strong, white, even teeth, as she laughed.
"Aren't we?" she cried gaily--"just splendid----" And made a playful lunge at him with the raquet.
"Venus and Adonis playing tennis, eh?" Crowley said.
"Oh, cut it out," Houston exclaimed.
"They didn't play tennis, did they?" Florence asked.
"He ought to know," Houston put in, "he's working for that Rome scholarship--but he'll never get it any more than I shall the Athens...."
"They used to play hand ball--the gods did----" Crowley explained professorily. "And in a court, too. I suppose your tennis is merely a survival of that old Greek game."
The three sat at the edge of the court while Crowley discoursed learnedly upon the pastimes of the ancient Greeks. The deep throated bells in the Library Tower rang out the hour of eight across the maples and the amateur lecturer rose lazily.
"Do you want to go down town, Jack?" he asked indifferently.
The collection begins with a detailed portrait of Florence, a young woman who receives guests in a round room with low candlelights and deep draperies. The narrator recalls being among the loungers on the window-seat, watching the light move across her cheek and throat. The prose is lush and retrospective, hinting at a lost youth spent in devotion to an idealized figure. This opening establishes a tone of romanticized memory and sets the stage for stories that revolve around campus social life and its emotional undercurrents.
The Social Stage and Its Players
The first story, “The Making of a Man,” introduces Florence as a “College Widow” in the eyes of some, but the narrator insists on a more complex view. The room’s decor—low lights, tinted shades, red tapestry—is described with care, and the narrator notes that smoking was permitted without the odor lingering. These details create a contained, almost theatrical space where Florence performs her role. The story’s opening paragraphs immediately signal that the collection will dwell on interiors and the dynamics of admiration, with the narrator speaking as part of a collective “we” who loved her. This collective voice recurs in later tales, suggesting a shared campus experience.
A Gamble with the President
In “The Case of Catherwood,” the scene shifts to a president’s office. Catherwood, a student in trouble, faces a president who speaks with “cutting precision.” The president offers a choice between two sealed envelopes—one containing a credit-slip, the other a condition. Catherwood’s hand trembles as he chooses, and after he leaves, the president opens the remaining envelope, tears the slip into flakes, and lets them fall like snow. The episode ends with the president noting the time and hurrying to luncheon. The story balances tension with a dry, almost absurd resolution, leaving the reader to wonder about the contents and the president’s motives.
A Nocturne in the Streets
“The Door—A Nocturne” opens with a pale moon and unlit street-lamps. The setting is a narrow, unpaved street lined with maples and frame houses, with lilac bushes and silver birches “ghostly in the thin light.” The description is precise and atmospheric, focusing on a three-story house with a covered porch and a spindled rail. The story’s title and opening suggest a mood piece, where the physical environment—the door, the moonlight, the shadows—will carry the narrative weight. This shift to a more impressionistic style contrasts with the earlier, dialogue-driven scenes and shows Harriman’s range in rendering place.
Recurring Motifs and Narrative Voice
Across the excerpts, certain patterns emerge. The first-person plural (“we,” “our”) appears in the opening story, creating a sense of shared memory. The president’s office scene relies on precise gestures—the envelope, the dagger, the torn slip—while the nocturne uses visual detail to build mood. The collection’s title, Ann Arbor Tales, and the catalog subjects (Short stories, American; Ann Arbor (Mich.) – Fiction) confirm the local setting, but the stories themselves vary in tone from sentimental to tense to lyrical. Readers may note how the author moves between interior spaces and external streets, and how the university setting provides a backdrop for both social rituals and individual crises.
These excerpts offer a cross-section of Harriman’s methods: the romanticized group portrait, the tense academic standoff, and the atmospheric nocturne. Each story appears to rely on a distinct narrative strategy, from collective reminiscence to tight dialogue to descriptive immersion. A first reading might attend to how the author shifts between these modes and how the recurring university setting—its rooms, offices, and streets—shapes the characters’ dilemmas. The incomplete excerpts leave the resolutions unclear, but the patterns of voice and detail provide a reliable guide to the collection’s texture.
That opening candlelit room, with Florence holding everyone's gaze—it stayed with me long after closing the book. There’s a particular ache in watching people so sure of their moment. I found myself thinking of that same quiet magnetism while reading Studies in Wives — A Closer Reading, where the interiors feel just as intimate, just as fleeting. Some writers simply understand how a room remembers its people.
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