The Boy Scouts of Bob's Hill A Sequel to 'The Bob's Hill Braves' — A Reader’s Guide

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Burton, Charles Pierce, 1862-1947, Grant, Gordon, 1875-1962 [Illustrator] Project Gutenberg 2010 Not confirmed
Camping -- Juvenile fiction; Boy Scouts of America -- Juvenile fiction; Youth -- Social life and customs -- Juvenile fiction Readers of public-domain and historical texts
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Edition facts

Words 61,296
Reading time 267 min
Text sections 8

The source record for The Boy Scouts of Bob's Hill A Sequel to 'The Bob's Hill Braves' — A Reader’s Guide measures this digital text at 61,296 words, 4 hr 27 min estimated reading time, and 8 detected text sections.

The text analysis averages about 14.5 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 “Camping -- Juvenile fiction,” connecting these edition facts with the source record’s subject description.

An editorial note on Charles Pierce Burton's sequel, focusing on the narrative voice of the Bob's Hill boys, the blend of colloquial dialogue and formal framing, and the pacing of outdoor adventure interlaced with Scout rituals.
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Editorial Edition Score 4.7/5

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  • Text length15 pts
  • Chapters / structure15 pts
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Read the Text

That was the beginning of this history, which tells all about the doings of the Band, that set all the people talking about us for miles around.

Perhaps you never heard about the Band; how we found a cave at Peck's Falls, part way up the mountain, and had all kinds of fun playing there and on Bob's Hill. There are eight of us in all. Skinny is captain. His folks call him Gabriel but we don't like that name. Skinny is a good name for him, he is so fat. He can run though, even if he is heavy, and you would think that he could fight some if you had seen him once, when the Gingham Ground Gang got after us.

Benny Wade is the littlest fellow in the bunch but he feels just as big as anybody and sometimes that is almost as good as being big. Besides these there are Harry, Wallie, Chuck, Bill Wilson, Hank Bates,--Oh, yes, I most forgot,--and myself.

My name is John Alexander Smith. The boys call me Pedro, and I have been secretary ever since Tom Chapin found the cave. It's up to me to write the doings of the Band and the minutes of the meetings.

Tom Chapin was our first captain and he meets with us now, whenever he is in town.

The village where we live is in a long, narrow valley, with little Hoosac River flowing north through the center of it, until it gets beyond the mountain range. Then it turns west and hurries down into the Hudson.

Bob's Hill stands just west of the village and looks down upon the highest steeples. Over the brow of the hill and a little south are Plunkett's woods. West, straight back, a mile or more, begins the timbered slope of old Greylock, which, everybody knows, is the highest mountain in Massachusetts. And in the edge of the first woods, a little back from the road, is the prettiest place you ever sat eyes upon. Grown-up folks call it "the glen," but we boys just say "Peck's Falls." I don't know why, only there is a waterfall there, which begins in a brook, somewhere up on the mountainside, and plays and tumbles along, until finally it pours down from a high cliff into a pool a hundred feet below; then dashes off to join Hoosac River.

A queer-shaped rock, with a high back and narrow ledge, which we call the "pulpit," bridges the ravine in front of the falls, fifty feet and maybe more, above the rushing water. A little farther down the ravine, at the edge of the stream, is another rock. It will do no harm now to say that our cave is under that rock, because folks have found out about it, although not many know about there being two entrances.

All these things that I have told about belong to us boys. Mr. Plunkett thinks that he owns Plunkett's woods and Bob's Hill. I mean the very top of it. And somebody has been cutting trees off from Greylock, until it looks like a picked chicken in spots. But we call them all ours because we have more fun with them than anybody else does, and it seems to us that things belong to those who get the most out of them.

We knew from the way Skinny was acting that he had something on his mind, so we sat down and waited for him to tell us.

"Fellers," said he, after a while, "we've been Injuns and we've been bandits, and we have had fun, good and plenty. I ain't sayin' that Injuns and bandits are not all right sometimes but----"

"Guess what!" broke in Benny. "We've been 'splorers, too. Don't you remember 'sploring out in Illinois last summer? About LaSalle and that other guy and What's-her-name who fell over the cliff?"

"That was all right, too," said Skinny, "and I couldn't forget it in a thousand years, but I tell you those things are back numbers. They are out of date."

"Never mind about the date," said Hank, "but hurry and get it out of your system. We've got to be something, haven't we? If we ain't Injuns and we ain't bandits, what are we?"

"We are Scouts," shouted Skinny, aiming with his gun and dodging so quickly that he almost slid down the roof.

We all looked at one another in surprise, wondering what he meant. Benny spoke up first.

"What are those things, Skinny?" he asked.

"Why," said Skinny, "haven't you been readin' about 'em? They are--er--they are--er--they're just Scouts, that's all.--They scout around, you know, and do all kinds of stunts."

"Scoot around, you mean," I told him.

"Well, it's the same thing, ain't it?"

The narrative voice of The Boy Scouts of Bob's Hill is its most distinctive feature: a collective first-person plural (“we boys”) that frames the story as a shared recollection. This voice is not uniform, however. The boys’ dialogue is peppered with colloquialisms like “Aw, g'wan!” and “Great snakes!”, while the narrator’s commentary often adopts a more measured, almost instructional tone—especially when explaining Scout principles. The result is a text that shifts between the immediacy of a campfire tale and the didacticism of a manual.

A Chorus of Boys’ Voices

The narrator’s “we” is a collective that includes the reader in the boys’ adventures, but individual characters emerge through their speech. Skinny, for instance, uses a defensive, boastful cadence: “What, me?” and “Anyhow, I wouldn't have been, only there were all kinds of noises.” Bill counters with playful skepticism, as when he tallies Skinny’s free meals. The adult Mr. Norton speaks in a more formal register, using phrases like “the psychological moment” and “I think that he has earned a badge.” This contrast between the boys’ vernacular and the Scoutmaster’s polished language creates a layered narrative where authority and youthful bravado constantly negotiate.

Pacing: Between Hikes and Huddles

The story’s rhythm alternates between extended outdoor sequences—like Skinny’s solitary hike through the Hoosac Valley—and indoor scenes where the troop gathers to debrief. The hike passage slows time with sensory details: “mountain brook, gurgling and singing over the stones,” the “sweetest music” of water, and the “cawing of a crow.” In contrast, the fireside exchanges accelerate through quick dialogue and interruptions, as when Benny asks, “What's a skological moment?” This shift from descriptive immersion to rapid-fire banter keeps the narrative from becoming static, mirroring the boys’ own restless energy.

The Ritual of the Badge

Scout ceremonies punctuate the adventure with moments of formal recognition. Mr. Norton’s presentation of a First Class badge to Skinny is staged as a “psychological moment,” complete with a badge pinned to the coat. The scene is both earnest and gently comic: Skinny’s earlier bravado about rescuing a girl and carrying wood is retroactively framed as “pay as you go” Scout work. The badge becomes a narrative device that translates the boys’ chaotic exploits into a structured system of merit. Yet the text undercuts this solemnity with Benny’s malapropism, reminding readers that the boys are still learning the language of Scouting.

Readers should attend to how the narrator’s “we” shifts between inclusive storytelling and a more distant, instructional voice. The book rewards those who listen for the differences between what the boys say and how the narrator describes them. The pacing, too, offers a clue to the book’s dual purpose: to entertain with adventure and to model the Scout law in action.

Reading about the Bob's Hill boys and their scraped-knee adventures, I remembered the summer I spent alone in my grandmother’s attic, finding a dusty copy of The Girls of Hillcrest Farm; Or, The Secret of the Rocks — A Closer Reading. Both books share that same patient hush—the feeling of a campfire settling, where every knot and stone holds a quiet promise few grown-ups notice.

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