Pemrose Lorry, Camp Fire Girl — Edition Insights
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Before opening Pemrose Lorry, Camp Fire Girl — Edition Insights, the edition data offers a quick orientation: 50,015 words, 3 hr 38 min estimated reading time, and 5 detected text sections.
The text analysis averages about 21.9 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 “Science 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 was thinking of it two hours later--having gained her coaxing point--seated in the well-nigh empty parlor car of the north-bound express, that green-aisled Pullman being the first car behind the cab and plodding engine which, regardless of schedule, crept along slowly and warily to-day upon ice-shod rails.
But as she caressed the honorable thumb--the little girlish member which would press the button while all the world wondered--and peered out through a window fairly frosted, lo! again she saw a landscape dimly in flames--blood-red--as viewed through the spectroscope of her own raging thoughts.
For ice was within the car, as without.
There--there, seated almost on a line with her, on the other side of the moss-green aisle, and only three other distant passengers in the compartment, was the girl whose caricaturing tongue had repeated the indelible insult about a Quaker gun; whose mother considered her father a mere chuckle-headed dreamer, with his visions of bridging the absolute zero of space--just a mild three hundred degrees, or so, lower than the biting breath of Mother Earth at the present moment--and reaching worlds far away amid the starry scope.
Pemrose had kept her word about not speaking. She just dropped one pointed little icicle in the shape of a nod upon her one-time friend as she sank into her own swivel chair and threw off the heavy coat with which she had covered her ski-runner's silken wind-jacket and belted skiing costume of pure, creamy wool, with its full freedom of knickerbockers.
"There's Una--Una Grosvenor!" Her face frosted over at the thought. "Oh, mer-rcy! how I hate her--shall everlastingly hate her--for passing on that sneer about the Thunder Bird.... And I know-ow her eyelashes aren't as long as mine now!"
Mingled spice was in the furtive glance which Toandoah's little pal, his maiden of the chowchow name, threw across the narrow train-aisle at the delicate young profile opposite, outlined against a crusted window.
"And she still has that funny little near-sighted stand in one of her dark eyes, too--Una! Although they're pretty eyes--I'll admit that!" mused the critic further. "Goodness! won't she open them one of these days when the world is all ringing with talk of Dad and his rocket: when the Thunder Bird, the finished, full-fledged Thunder Bird, undertakes its hundred-hour flight to the moon.... For, oh! I know-ow that it will go, some day--some day." The girl stared passionately now into the future in the frostscript of the pane near her. "Man would not let it fail, God _could_ not let it fail--just for lack of funds--however that third nut may turn out--that third section of a queer will!"
And now the mulled world outside changed again, shading from blood-red to fairy rose-color as seen through the spectroscope of hope.
She became lost in the most magnificent dream that ever entranced a Camp Fire Girl yet--with any hope of fulfillment.
Standing of a starless night upon a lofty mountain-top, she was looking up at Mammy Moon, dear, silver-footed Queen, so near to the heart of every Earth-daughter!
In the darkness she felt the eyes of the whole world upon her--she but a satellite reflecting her father's light--its joint ear was bent to catch the wild, triumphal song-sob of her heart.
And at the words: "Ready! Shoot!", Toandoah's battle-cry, she was pressing the electric button which, connected with a switch in the Thunder Bird's tail, would start it off, pointed directly for the moon, to light up that silver disc with a bright powder-flash visible here on earth.
She was mesmerized by its wild, red eye. She was watching it switch its rosy tail feathers, two hundred feet long, that dashing explorer, as, roaring, it leaped from its mountain platform at incredible speed for an incredible flight.
She was echoing the college boys' untamed slogan: "Watch it tear; oh! watch it tear--the fire-eater."
But what--what was this? Was she tearing with it? Was she, she herself, just a shocked girl, at the heart of its rapid-fire explosions?
Was she being hurled with it through space, blank space, Absolute Zero, below what human instrument could register,--or human girl encounter and live?
All she knew was that she was being flung, first forward, then backward; and then, oh, horrors! against the train window near her where glass was all splintering and crashing, through which ice and water, mad, mad water and ice, were rushing together.
The first chapter of Isabel Hornibrook's 1921 novel opens with a fifteen-year-old Camp Fire Girl, Pemrose Lorry, questioning whether the Thunder Bird will 'really lay its egg upon the moon.' This blend of scientific speculation and fairy-tale imagery sets the tone for a story that repeatedly contrasts technological ambition with the natural world. The preface announces the book as 'the first story written upon the latest and unique conquest of the age, the conquest of empty Space,' with permission from inventor Robert H. Goddard. Yet the excerpts also show a strong pull toward earthbound details: cave explorations, blind fish, garter snakes, and mayflowers 'with the tan of decay on them.'
Science and Sentiment in Tension
The opening pages establish a central conflict between Pemrose's childhood wonder and her father's scientific project. She addresses 'Mammy Moon' as a 'fairy foster-mother,' picturing it as 'the gate of Heaven and her mother's spirit.' This personal, emotional connection to the moon is immediately challenged by the inventor Toandoah's plan to 'lay its egg in a nest of the moon.' The girl's reaction—'a wild little gasp whose triumph was a sob'—captures the tension between pride in her father's work and a sense of loss. The narrative does not resolve this tension in the excerpts; instead, it leaves Pemrose caught between two worlds.
Cave Details and Group Dynamics
The extended cave sequence in the excerpts reveals Hornibrook's attention to sensory detail and social interplay. The cave is described with 'great fungi, primrose-skirted' and a 'hidden streamlet whose mystery no man had penetrated.' The girls react differently: Ista dismisses 'weeping rocks' as 'crocodile tears,' while Una screams at bats. The boys, including Studley, handle a garter snake, and the narrative notes the 'merit badges of the patrol leader'—life-saver, signaler, husbandman. A group of 'gaudy big boys' in 'apricot sweater, blood-red in the ruby lamplight' introduces social friction, as Pemrose feels snubbed and wishes to retaliate. The cave becomes a stage for both natural wonder and human rivalry.
Recurring Motifs: The Nickum and the Vain Elf
Two recurring motifs appear in the excerpts: the 'nickum' (a mischievous boy) and the 'Vain Elf' within Pemrose. The nickum is described as having 'a hazing imp in his eye' and carrying 'passë mayflowers' as if they were 'part of a long lost heritage.' Pemrose's internal 'Vain Elf' stores a wish to snub him, 'a vengeful arrow in the blue quiver of her eyes.' These personified traits suggest a moral framework where vanity and mischief are acknowledged but not condemned outright. The narrative also notes that the Vain Elf 'slept in the shadow of the Wise Woman' in Pemrose's breast, hinting at a duality that may be explored further in the full text.
Readers will find a work that moves between the laboratory and the cave, between scientific progress and the romance of decay. The excerpts offer no resolution to the moon rocket plot, but they do establish a world where merit badges, mayflowers, and blind fish coexist. Pay attention to how the narrative balances the collective activities of the Camp Fire Girls with Pemrose's private, often conflicted, perspective.
There’s something tender in how Pemrose Lorry lets its girl hold both a rocket and a garter snake, without rushing her to choose. I kept thinking of that quiet patience afterward. The Inglises; Or, How the Way Opened — A Closer Reading left me with the same soft ache—like watching a door open slowly, not for the sake of the room beyond, but for the sake of the light spilling through.
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