Hollow Tree Nights and Days — A Reader’s Guide

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In Category - Fairy Moral Tales
Paine, Albert Bigelow, 1861-1937, Condé, J. M. [Illustrator] Project Gutenberg 2008 Not confirmed
Animals -- Juvenile fiction; Imaginary places -- Juvenile fiction; Trees -- Juvenile fiction Readers of public-domain and historical texts
Project Gutenberg digital edition en

Edition facts

Words 47,426
Reading time 207 min
Text sections 7

This digital edition of Hollow Tree Nights and Days — A Reader’s Guide is described by source-level measurements including 47,426 words, 3 hr 27 min estimated reading time, and 7 detected text sections.

The text analysis averages about 20.5 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 “Animals -- Juvenile fiction,” connecting these edition facts with the source record’s subject description.

Albert Bigelow Paine's sequel to The Hollow Tree and Deep Woods Book continues the animal tales with a storytelling frame, a new map, and a focus on 'possum ancestry, vanity, and survival, narrated in a colloquial, gently ironic voice.
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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
  • EPUB file integrity20 pts

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They had looked at all the things, and Mr. Crow remarked that there seemed to be a good many which Mr. 'Possum had not mentioned, and which they could divide afterward. Then he picked up Mr. Possum's pipe and tried it to see if it would draw well, as he had noticed, he said, that Mr. 'Possum sometimes had trouble with it, and the 'Coon went over to the closet and looked at Mr. 'Possum's Sunday suit, and pretty soon got it out and tried on the coat, which wouldn't need a thing done to it to make it fit exactly. He said he hoped Mr. 'Possum was resting well, after the medicine, which he supposed was something to make him sleep, as he had seemed drowsy so soon after taking it. He said it would be sad, of course, though it might seem almost a blessing, if Mr. 'Possum should pass away in his sleep, without knowing it, and he hoped Mr. 'Possum would rest in peace and not come back to distress people, as one of Mr. 'Coon's own ancestors had done, a good while ago. Mr. 'Coon said his mother used to tell them about it when she wanted to keep them at home nights, though he didn't really believe in such things much, any more, and he didn't think Mr. 'Possum would be apt to do it, anyway, because he was always quite a hand to rest well. Of course, _any one_ was likely to _think_ of such things, he said, and get a little nervous, especially at a time like this--and just then Mr. 'Coon looked toward the door that led down to the big room, and Mr. Crow he looked toward that door, too, and Mr. 'Coon gave a great jump, and said:

"Oh, my goodness!" and fell back over Mr. 'Possum's trunk.

And Mr. Crow he gave a great jump, too, and said:

"Oh, my gracious!" and fell back over Mr. 'Possum's chair.

For there in the door stood a figure shrouded all in white, all except the head, which was Mr. 'Possum's, though very solemn, its eyes looking straight at Mr. 'Coon, who still had on Mr. 'Possum's coat, though he was doing his best to get it off, and at Mr. Crow, who still had Mr. 'Possum's pipe, though he was trying every way to hide it, and both of them were scrabbling around on the floor and saying, "Oh, Mr. 'Possum, go away--please go away, Mr. 'Possum--we always loved you, Mr. 'Possum--we can prove it."

But Mr. 'Possum looked straight at Mr. 'Coon, and said in a deep voice:

"What were you doing with my Sunday coat on?"

And Mr. 'Coon tried to say something, but only made a few weak noises.

And Mr. 'Possum looked at Mr. Crow and said:

"What were you doing with my pipe?"

And a little sweat broke out on Mr. Crow's bill, and he opened his mouth as if he were going to say something, but couldn't make a sound.

Then Mr. 'Possum said, in a slow voice, so deep that it seemed to come from down in the ground:

"_Give me my things!_"

And Mr. 'Coon and Mr. Crow said, very shaky:

"Oh y-yes, Mr. 'Possum, w-we meant to, a-all the t-time."

And they tried to get up, but were so scared and weak they couldn't, and all at once Mr. 'Possum gave a great big laugh and threw off his sheet and sat down on a stool, and rocked and laughed, and Mr. 'Coon and Mr. Crow realized then that it was Mr. 'Possum himself, and not just his appearance, as they had thought. Then they sat up, and pretty soon began to laugh, too, though not very gaily at first, but feeling more cheerful every minute, because Mr. 'Possum himself seemed to enjoy it so much.

Then Mr. 'Possum told them about everything, and how Mr. Man's medicine must have made him well, for all his pains and sorrows had left him, and he invited them down to help finish up the chicken which had cost him so much suffering.

This continuation of the Hollow Tree stories opens with a new map and a greeting from the Story Teller and the Artist, establishing a playful frame. The narrative voice is colloquial and intimate, addressing readers directly and weaving in asides about the characters' habits. The excerpt about Mr. 'Possum's ancestors reveals a layered structure: a story within a story, with interruptions from listeners like Mr. Rabbit and Mr. 'Coon. Paine uses repetition of the phrase "didn't notice anything had happened" to comic effect, highlighting the characters' vanity and the storyteller's control.

A Storyteller's Voice and Its Rhythms

The narrative voice in Hollow Tree Nights and Days is distinctive for its conversational, almost oral quality. Paine frequently inserts parenthetical remarks and asides, such as "and I judge some of our family didn't do it perfectly." This creates a sense of a storyteller speaking directly to a listener, often with gentle irony. The pace varies: long, winding sentences build detail, while short interjections like "'Sh!" from the audience break the flow. The repetition of "didn't notice anything had happened" after each character's offended reaction slows the narrative and emphasizes the humor of self-absorption.

Vanity and Survival in the 'Possum Tale

The extended story of Mr. 'Possum's ancestors is a precise observation of vanity. The ancestors are proud of their "big, ornamental tails" despite their uselessness against Mr. Painter. Paine describes them curling their fur with grass knots and wearing false hair—details that mock pretension. The arrival of the handsome stranger Somers, with his naturally curled tail, triggers jealousy and schadenfreude among the local males. The tale uses the threat of Mr. Painter to underscore the stakes: vanity can be fatal. The narrative does not resolve Somers's fate in the excerpt, leaving the outcome uncertain.

Setting and Map as Narrative Device

The book opens with a new map of the Deep Woods, complete with labeled spots like "the old well that Mr. 'Possum fell into" and "Cousin Redfield's cave." This map is not merely decorative; it anchors the stories in a fictional geography. Paine explains that the artists omitted some roads to avoid clutter, acknowledging the map's artifice. The map also inverts convention—"with Deep Woods folks the top of the map is south." This detail reinforces the playful, topsy-turvy logic of the world, where the reader is invited to imagine the landscape as the characters do.

Readers will find that the book's pleasures lie in its unhurried pacing and the interplay between the framing narrator and the animal characters. The stories reward attention to small verbal cues—a repeated phrase, a character's interruption, a sly comment on human foibles. The map and the greeting from the Story Teller and the Artist signal that this is a book to be read aloud, savored for its voice rather than its plot.

Reading how Paine’s animals cling to vanity and survival through their own stories, I found myself recalling something quieter from my childhood shelf—a girl solving mysteries with steady patience. That same unhurried trust in getting through, not conquering, lingers there. It made me want to revisit Mary Louise Solves a Mystery — Story, Setting & Ideas, almost like checking on an old friend’s weather.

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