At Pinney's Ranch 1898 — Text and Context
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The catalog record for At Pinney's Ranch 1898 — Text and Context provides practical reading context through 8,722 words, 38 min estimated reading time, and 1 detected text section.
The text analysis averages about 20.7 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 “Short stories,” connecting these edition facts with the source record’s subject description.
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- Title & short description10 pts
- Source metadata20 pts
- Text length15 pts
- Chapters / structure15 pts
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Read the Text
not there! Tell me that you were not there!” The ghastly face he raised to hers might well have seemed to confess everything.
At least she seemed to take it so, and in a fit of hysterical weeping sank to the floor, and buried her face in her hands upon a chair. The children, alarmed at the scene, began to cry. It was growing dark, and as he looked out of the window, Lansing saw an officer and a number of other persons approaching the house. They were coming to arrest him. Animal terror, the instinct of self-preservation, seized upon his faculties, stunned and demoralized as he was by the suddenness with which this calamity had come upon him. He opened the door and fled, with a score of men and boys yelling in pursuit. He ran wildly, blindly, making incredible leaps and bounds over obstacles. As men sometimes do in nightmares, he argued with himself, as he ran, whether this could possibly be a waking experience, and inclined to think that it could not. It must be a dream. It was too fantastically horrible to be anything else.
Presently he saw just before him the eddying, swirling current of the river, swollen by a freshet. Still half convinced that he was in a nightmare, and, if he could but shake it off, should awake in his warm bed, he plunged headlong in, and was at once swirled out of sight of his pursuers beneath the darkening sky. A blow from a floating object caused him to throw up his arms, and, clutching something solid, he clambered upon a shed carried away by the freshet from an up-river farm. All night he drifted with the swift current, and in the morning landed in safety thirty miles below the village from which he had fled for life.
So John Lansing, for no fault whatever except an error of judgment, if even it was that, was banished from home, and separated from his family almost as hopelessly as if he were dead. To return would be to meet an accusation of murder to which his flight had added overwhelming weight. To write to his wife might be to put the officers of the law, who doubtless watched her closely, upon his scent.
Under an assumed name he made his way to the far West, and, joining the rush to the silver mines of Colorado, was among the lucky ones. At the end of three years he was a rich man. What he had made the money for, he could not tell, except that the engrossment of the struggle had helped him to forget his wretchedness. Not that he ever did forget it. His wife and babies, from whose embraces he had been so suddenly torn, were always in his thoughts. Above all, he could not forget the look of horror in his wife's eyes in that last terrible scene. To see her again, and convince her, if not others, that he was innocent, was a need which so grew upon him that, at the end of three years, he determined to take his life in his hand and return home openly. This life of exile was not worth living.
One day, in the course of setting his affairs in order for his return, he was visiting a mining camp remote from the settlements, when a voice addressed him by his old name, and looking around he saw Pinney. The latter's first words, as soon as his astonishment and delight had found some expression, assured Lansing that he was no longer in danger. The murderer of Austin' Flint had been discovered, convicted, and hanged two years previous. As for Lansing, it had been taken for granted that he was drowned when he leaped into the river, and there had been no further search for him. His wife had been broken-hearted ever since, but she and the children were otherwise well, according to the last letters received by Pinney, who, with his wife, had moved out to Colorado a year previous.
Of course Lansing's only idea now was to get home as fast as steam could carry him; but they were one hundred miles from the railroad, and the only communication was by stage. It would get up from the railroad the next day, and go back the following morning. Pinney took Lansing out to his ranch, some miles from the mining camp, to pass the interval. The first thing he asked Mrs. Pinney was if she had a photograph of his wife. When she brought him one, he durst not look at it before his hosts. Not till he had gone to his room and locked the door did he trust himself to see again the face of his beloved Mary.
Edward Bellamy's At Pinney's Ranch (1898) opens with a parlor game of mind-reading that quickly becomes a courtship ritual. The narrator notes that John Lansing 'had some powers, or supposed powers' in that direction, a qualification that sets the tone for the story's treatment of psychic phenomena. The early pages establish a domestic, social setting—the ranch of a friend—before pivoting abruptly to a murder and a circumstantial case against Lansing. The catalog subjects list 'Short stories' and 'United States -- Social life and customs -- 19th century,' but the excerpts show a narrative driven less by period detail than by a speculative plot involving telepathic communication across a thousand miles. The Colorado mountain setting and the ranch house serve as backdrops for a psychological drama that tests the limits of will and belief.
Mind-Reading as Plot Engine
The story's opening scene establishes mind-reading as both a social amusement and a serious plot device. Lansing succeeds with Mary Hollister because she proves 'a remarkably sympathetic subject,' and their subsequent romance is framed as a shift from 'mind-reading' to 'heart-reading.' This vocabulary—'sympathetic subject,' 'influence,' 'feats'—draws on late-nineteenth-century interest in mesmerism and telepathy. Four years later, the same psychic bond becomes the story's central mechanism: Lansing, isolated on a Colorado mountain, attempts to project his will across a thousand miles to prevent Mary's remarriage. The narrator describes the sensation as 'comparable to that which comes up the mile-long sounding-line,' a simile that grounds the supernatural in material imagery. The excerpts do not reveal whether Bellamy endorses or skeptically frames these powers, but the narrative treats the experiment with dramatic seriousness.
Circumstantial Evidence and Silence
The murder of Austin Flint introduces a classic legal predicament: Lansing is 'absolutely guiltless' yet 'caught in one of those nets of circumstance.' His decision to conceal his nighttime visit to Flint's house—made to apologize after a public fight—creates a tension between moral innocence and legal vulnerability. The narrator emphasizes that Lansing 'remained silent as to a fact which otherwise he would have testified to at the inquest,' fearing that the admission would complete a case 'stronger than had often hanged men.' This silence extends to his wife, whom he spares anxiety. The excerpts offer no resolution to the murder plot; the focus shifts entirely to the telepathic rescue. The catalog subject 'Psychological & Social Fiction' fits this emphasis on internal states and moral dilemmas, though the social dimension is limited to the couple's isolation and the pressure of public suspicion.
The Western Setting as Stage
Despite the title and catalog classification under 'United States -- Social life and customs,' the excerpts use the Western setting sparingly. The ranch appears primarily as a social gathering place for the opening scenes; later, Lansing's ordeal occurs on 'a lonely mountain of Colorado,' where he holds an iron horseshoe 'drawn halfway out' during his mental struggle. The horseshoe—a detail of material culture—becomes a physical index of his exertion. The narrative does not develop ranch life, landscape, or regional customs beyond these functional elements. The story's interest lies in the psychological and paranormal, not in ethnographic description. Readers expecting a Western tale of cattle or frontier justice will find instead a domestic drama with a speculative twist, set against a minimally sketched Rocky Mountain backdrop.
The excerpts break off before revealing the full outcome of Lansing's experiment, but the final pages included show Mary's perspective on the wedding that did not take place. The story's reliance on telepathy as a plot device invites comparison with Bellamy's better-known utopian novel Looking Backward, though this work operates on a smaller, more intimate scale. Readers attentive to the period's fascination with psychic phenomena will find a compact example of how popular fiction incorporated such ideas into romantic and suspenseful narratives.
That Bellamy story left me thinking about how far we’ll reach to hold onto someone, even across miles and minds. It reminded me of a quieter book, The Spinster 1905 — Background and Themes, which carries a similar ache about solitude and the choices we make. Both lingered with me long after the last page.
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