The Auto Boys' Vacation — Text and Context

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Braden, James A. (James Andrew), 1872-1955, Furman, E. A. [Illustrator] Project Gutenberg 2010 Not confirmed
Vacations -- Juvenile fiction; Automobiles -- Juvenile fiction; Young men -- Juvenile fiction Readers of public-domain and historical texts
Project Gutenberg digital edition en

Edition facts

Words 42,590
Reading time 186 min
Text sections 5

This digital edition of The Auto Boys' Vacation — Text and Context is described by source-level measurements including 42,590 words, 3 hr 6 min estimated reading time, and 5 detected text sections.

The text analysis averages about 15.6 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 “Vacations -- Juvenile fiction,” connecting these edition facts with the source record’s subject description.

The Auto Boys' Vacation opens with four boys investigating a garage break-in and a dog's killing, then shifts to a treasure hunt based on a tramp's deathbed map. The excerpts show a serialized adventure story with brisk dialogue, a skeptical view of local authority, and a plot driven by a hidden hemlock and a rock.
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Editorial Edition Score 4.7/5

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  • Title & short description10 pts
  • Source metadata20 pts
  • Text length15 pts
  • Chapters / structure15 pts
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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.

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Read the Text

Billy was called only after Mr. Fobes had failed to extract from the man any information whatever. Cautioning the lad to tell the prisoner little or nothing, the policeman, who was also turnkey, it will have been noticed, took Worth into the lockup and left him.

"What was yer question, bub! Mebbe I might answer it," said the fellow. He held a bar of the cell in each hand and leaned forward on his elbows. His face, pressed between the steel rods, had a really hideous look.

"Where's the Big Six automobile that dinner basket came from? Now you tell me that and you'll make a friend. You seem to need one all right."

Billy was surprised by his own boldness in this speech. The fact was the man's manner had quite startled him.

The prisoner laughed in a coarse guffaw. Abruptly checking himself, he said in a whisper: "You get me out o' here. Swipe the keys--any old way! Pass me in a saw--just so's I get out to-night, an' I'll show you where you can find that automobile, good as ever she was. And--" the fellow swore venomously and wickedly--"you blab this an' I'll get ye fer it if I go to the chair!"

"Might as well be reasonable," spoke the boy, frightened by the very nature of the proposal, but scarcely showing it. "I'll help you get out if it means just paying a fine for you, if you can do all you say, but----"

"Do all I _say?_ Don't you think I couldn't?"

Billy hardly knew what to say. For a few seconds he made no answer.

"Aw, I was just a kiddin' ye," the fellow said with a coarse laugh again, as if he had quite suddenly changed his mind.

"Oh! All right!" the boy replied indifferently. And then, moved by a sudden impulse, whose origin he could never have explained, he stepped close to the cell, "Mr. Smith, of Buffalo, has been staying at our hotel. Maybe you'd like to see _him_," he said in a low tone. "He was looking for someone and I shouldn't be surprised from what I saw of him that you are the man."

In general it was a chance shot--a random word without particular aim, such as Fobes had used in his questioning, but Billy fully believed that the remark struck home.

"Say, kid, say, on the level is he the party His Nibbs was talkin' about? Look 'e here, bub, you play fair with the old man that's down an' out. You won't lose nothin' by it. They's none of 'em plays fair any more or I wouldn't be here. You slip them very words to Smith fer me, and don't ye breathe it to His Nibbs."

"Where's our machine?" persisted Worth soberly.

Again a vile oath came from the dirty lips pressed between the bars. The prisoner's pleading manner had changed to anger. "Jest like 'em all, ain't ye?" he said with a vicious sneer in his tone. Then he walked away. Nothing Billy could say served to draw another word from him and that young gentleman could only take his leave. This he did with the words: "We are over at the American hotel. You may want to send for us when you get a little sense."

"How was I to know what to say to him? Wish Phil had been there," said Billy earnestly, telling Paul all about the interview later.

"Gee whizz! We're getting warm, though, I'll bet!" cried Jones with enthusiasm.

"If it wasn't just guesswork that Pickem or Smith--whatever his real name is--knows something about this man in the lockup, who in turn knows something about our car! Pickem certainly does know something about the Torpedo, but he's gone. Even if he might help us, it's too late."

The boys spent the evening trying to realize, with Willie Creek's help, some value from the day's developments. They were late getting to bed and still sleeping soundly when Phil and Dave, the following morning, were well on the road to Pittsfield. And now to return to the latter pair of eager searchers, it may be briefly stated that their day's work was without results. Except that they had made the theft of the Big Six the more widely known, they felt their efforts in Pittsfield to have been a total failure. At nine o'clock on Tuesday night they were on a Pullman, their tickets reading "Syracuse."

The story begins not with vacation but with a crime: someone has broken into the garage where the four boys—Billy Worth, Paul Jones, Phil Way, and Dave—keep their car, and their dog Scottie has been killed. The local chief of police, Fobes, is portrayed as indifferent, prompting the boys to take matters into their own hands. Their conversation reveals a sharp, skeptical tone toward adult authority, as when Paul Jones mimics the chief's condescending manner. The mystery quickly deepens when a suspicious lodger, John Smith or “Pickem,” vanishes, and the boys learn of a hidden treasure connected to an old train robbery. The opening establishes a pattern of action over reflection, with dialogue carrying much of the plot.

A Garage Break-In and a Dead Dog

The first excerpt plunges the reader into a tense scene at the garage. Billy Worth and Willie Creek discuss the break-in with Chief Fobes, but the chief shows little interest. The boys' frustration is palpable: “Maybe if we’d see a man robbing a bank here, then called Fobes so he could see, too, that the man was robbing the bank, he’d do something,” Billy remarks. Paul Jones adds a sarcastic imitation of the chief. The killing of Scottie, their dog, is the emotional catalyst. The landlord Mr. Wagg later confirms that the mysterious John Smith checked out the night before, leaving no address. This sequence establishes the boys as self-reliant investigators in a world where adults are either incompetent or untrustworthy.

The Tramp's Map and the Hidden Boodle

Later, Paul Jones produces a crumpled, soiled bit of paper he got from Chief Fobes—a map and clipping about a train robbery. The loot was buried near a big hemlock under a large rock, and the story involves a blind tramp who witnessed the robbery, tried to dig up the money, failed, and later died in the almshouse. The secret passed from tramp to tramp until it reached a man named Coster. Paul and Phil discuss the details eagerly, with Paul smacking his lips at the thought of “the boodle.” Phil is more cautious, noting that the paper doesn't specify exactly where the hemlock is. This section introduces the treasure-hunt premise and shows how the boys combine printed evidence with oral tradition to fuel their adventure.

Dialogue as Engine and Character

Throughout the excerpts, dialogue drives the narrative and reveals personality. Billy Worth speaks with dry sarcasm; Paul Jones is impulsive and enthusiastic, using exclamations like “Rah! Rah! Rah! Rah!” and “Bet your life—that’s me!” Phil Way is more analytical, asking pointed questions and shaking his head doubtfully. The boys interrupt each other, finish each other's sentences, and occasionally tease one another—as when Phil pinches Dave's ear to wake him. This conversational style gives the story a fast, informal pace suited to its serial origins. The reader learns about the characters not through description but through how they talk and react to events.

Setting and Serial Structure

The excerpts hint at a larger series: the story is a sequel to The Auto Boys' Big Six, and the author has written multiple Auto Boys titles. The setting shifts from a garage to a hotel to a road where the boys must decide whether to continue straight or turn off toward an old tavern. The map mentions a “one-horse tavern” near a railroad line. The narrative uses chapter titles like “Again the Lonely South Fork Road” and “Eastward Ho!” to signal episodic movement. The excerpts do not reveal the ending, but the pattern suggests a cycle of mystery, travel, and resolution typical of early twentieth-century juvenile adventure series.

Readers approaching The Auto Boys' Vacation for the first time should pay attention to how the boys gather and interpret clues—often from scraps of paper or secondhand stories. The author trusts his young audience to follow a plot built on inference and dialogue rather than exposition. The excerpts do not show the treasure being found or the vacation actually beginning; the pleasure lies in the process of investigation and the camaraderie among the four friends.

There’s something about that hemlock and the tramp’s map that lingers, the way good roadside mysteries do. It reminds me of the quieter, cleverer thrill in Seek and Find; or, The Adventures of a Smart Boy — Story, Setting & Ideas, where a boy’s own wits matter more than any badge. Both feel like afternoons I half-remember, and I’m glad they’re still around.

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