Clematis — Text and Context
Edition facts
Before opening Clematis — Text and Context, the edition data offers a quick orientation: 27,971 words, 2 hr 2 min estimated reading time, and 5 detected text sections.
The text analysis averages about 10.4 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 “Orphans -- 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
She had been sitting there almost an hour when a policeman came along.
"I wonder where that girl belongs," he said, as he looked down at her. "She is a new one on Chambers Street."
He walked on, but he looked back as he walked, to see if she went away.
The child slowly raised her big, brown eyes to look after him. She watched him till he reached the corner by the meat shop; then she looked down and began to kick at the stones with her thin boots.
At this moment a bell rang. A door opened in a building across the street, and many children came out.
As they passed the little girl, some of them looked at her. One little boy bent down to see her face, but she hid it under her arm.
"What are you afraid of?" he asked. "Who's going to hurt you?"
Another boy opened his lunch box as he passed, and shook out the pieces of bread, left from his lunch.
Soon the children were gone, and the street was quiet again.
The little girl kicked at the stones a few minutes; then she looked up. No one was looking at her, so she reached out one little hand and picked up a crust of bread.
In a wink the bread was in her mouth. She reached out for another, brushed off a little dirt, and ate that also.
Just then the policeman came down the street from the other corner. The child quickly bent her head and looked down.
This time he came to where she sat, and stopped.
"Are you going to sit here all day, little girl?" he asked.
"Your mother will be looking for you. You'd better run home now, like a good girl. Where do you live, anyway?"
He bent down and lifted her chin, so she had to look up at him.
"Where do you live, miss? Tell us now, that's a good girl."
"I don't know." The child spoke slowly, half afraid.
"O come now, of course you know, a big girl like you ought to know. What's the name of the street?"
"Ah, you're only afraid of me. Don't be afraid of Jim Cunneen now. I've a little girl at home just about your age."
He waited for her to answer, but she said nothing.
"Come miss, you must think. How can I take you home if you don't tell me where you live?"
"Oh, dear me! That is all I get for an answer. Well then, I'll have to take you down to the station. May be you will find a tongue down there."
As he spoke, he took hold of her arm to help her up. Then he tried one more question.
"My name is Clematis."
As she spoke she moved her arm, and out from the coat peeped a kitten. It was white, with a black spot over one eye.
"There, that is better," answered the policeman. "Now tell me your last name."
"That is all the name I have, just Clematis."
"Well then, what is your father's name?"
"I haven't any father."
"Ah, that is too bad, dear. Then tell me your mother's name." He bent down lower to hear her reply.
"I haven't any mother, either."
"No father? No mother?" The policeman lifted her gently to her feet. "Well miss, we won't stay here any longer. It is getting late."
Just then the kitten stuck its head out from her coat and said, "Miew."
It seemed very glad to move on.
"What's that now, a cat? Where did you get that?"
"It is my kitty, my very own, so I kept it. I didn't steal it. Its name is Deborah, and it is my very own."
"Ah, now she is finding her tongue," said the policeman, smiling; while Clematis hugged the kitten.
But the little girl could tell him no more, so he led her along the street toward the police station.
Before they had gone very far, they passed a baker's shop.
In the window were rolls, and cookies, and buns, and little cakes with jam and frosting on them.
The smell of fresh bread came through the door.
"What is the matter, miss?" The man looked down, as Clematis stood still before the window.
She was looking through the glass, at the rolls, and cakes, and cookies.
The policeman smelled the fresh bread, and it made him hungry.
"Are you hungry, little girl?" he asked, looking down with a smile.
"Wouldn't you be hungry if you hadn't had anything to eat all day long?" Clematis looked up at him with tears in her big brown eyes.
Clematis opens with a static image: a little girl sitting on a narrow brick sidewalk, watched by a policeman. The scene establishes a pattern of observation and waiting that recurs throughout the book. The narrative moves between enclosed spaces—the orphanage dormitory, a sickbed—and imagined or actual open landscapes, from the city street to the country fields of Tilton. This editorial note examines how the authors use structure, recurring images, and shifts in setting to shape the story.
Waiting and Watching
The first chapter places Clematis on the edge of a sidewalk, a liminal space between the street and the building. The policeman’s question—“Are you going to sit here all day, little girl?”—introduces a motif of waiting that continues in the orphanage. Clematis waits for meals, for permission, for news. Later, during her illness, she waits for visits from Deborah the cat and for the promised trip to the country. The narrative often pauses on her stillness, emphasizing her powerlessness and her patience.
Enclosure and Release
The orphanage is described through its physical boundaries: the dormitory, the kitchen, the sickroom. Clematis’s movements are restricted; she is confined to bed during her illness, and even after recovery, she must follow rules. The country, by contrast, is presented as a place of open fields, flowers, and freedom. The transition from city to country is marked by a train journey, a literal movement from enclosure to release. The authors repeatedly contrast cramped interiors with expansive natural scenes, using the shift to signal emotional change.
Objects as Anchors
Specific items carry emotional weight: the rusty pin holding Clematis’s coat, the blue serge dress with white stars, the orange juice she sips while ill. These objects ground the narrative in tangible detail. The dress, in particular, becomes a symbol of hope and transformation—Clematis can hardly believe it is for her. The authors use such objects to mark progress, from shabbiness to care, from illness to health. Even Deborah the cat serves as a living object of comfort, her purring a steady presence in the sickroom.
Movement Between Scenes
The story progresses through a series of discrete scenes, each with a clear setting: the sidewalk, the orphanage, the sickroom, the country. Transitions are often abrupt, marked by chapter breaks or by a character’s arrival or departure. The policeman, Miss Rose, Doctor Wyatt—each enters and exits, altering Clematis’s circumstances. The narrative does not linger on internal reflection; instead, it moves from one external event to the next, with Clematis’s reactions shown through gesture or brief speech. This structure keeps the focus on her observable world.
Readers may find it useful to track how often Clematis is described as sitting, waiting, or watching—these moments accumulate to define her character. The book’s reliance on physical objects and clear scene changes makes it a straightforward story of a child’s journey from neglect to belonging, told through what she sees and touches rather than what she says.
I found myself thinking about how confinement softens when a window opens—that orphanage in Clematis — Text and Context felt so close, so breathless. Then my hand drifted to Mountain-Laurel and Maidenhair — Edition Insights, and the same quiet release seemed to linger there, like remembering sunshine on a cold sill.
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