Colonel Crockett's Co-operative Christmas — Reading Notes
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Before opening Colonel Crockett's Co-operative Christmas — Reading Notes, the edition data offers a quick orientation: 8,890 words, 39 min estimated reading time, and 2 detected text sections.
The text analysis averages about 18.2 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 “Christmas stories,” connecting these edition facts with the source record’s subject description.
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Read the Text
There was people a-plenty. But I didn't know one gol-darned galoot. I had plenty of money, but nobody to spend it on--except tiptakers. I was stopping at this big hotel with lugsury spread over everything, thicker than sorghum on corn pone. But lonely--why, honey, I was so lonely that, as I walked along the streets, I felt as if I'd like to break into some of the homes and compel 'em at the point of my gun to let me set in and dine with 'em.
I felt like asking one of the bell-boys to take me home and get his ma to give me a slice of goose and let her talk to me about her folks.
There was some four million people in a space about the size of our ranch. There was theatres to go to--but who wants to go to the theatre on Christmas?--it's like going to church on the Fourth of July. There were dime muzhums, penny vawdevilles, dance-halls.
There was a big dinner for news-boys. The Salvation Army and the Volunteers gave feeds to the poor. But I couldn't qualify. I wasn't poor. I had no home, no friends, no nothing.
The streets got deserteder and deserteder. A few other wretches was marooned like me in the hotel corridors. We looked at each other like sneak-thieves patroling the same street. Waiters glanced at us pitiful as much as to say, "If it wasn't for shrimps like you, I'd be home with my kids."
The worst of it was, I knew there were thousands of people in town in just my fix. Perhaps some of them were old friends of mine that I'd have been tickled to death to fore-gather with; or leastways, people from my State. Texas is a big place, but we'd have been brothers and sisters--or at least cousins once removed--for Christmas' sake. But they were scattered around at the St. Regis or the Mills Hotel, the Martha Washington or somewhere, while I was at the Waldorf-hyphen-Astoria.
It was like the two men that Dickens--I believe it was Dickens--tells about: Somebody gives A a concertina, but he can't play on it; winter coming on and no overcoat; he can't wear the concertina any more than he can tootle it. A few blocks away is a fellow, Mr. B. He can play a concertina something grand, but he hasn't got one and his fingers itch. He spends all his ready money on a brand-new overcoat, and just then his aunt sends him another one. He thinks he'll just swap one of them overcoats for a concertina. So he advertises in an exchange column. About the same time, A advertises that he'll trade one house-broken concertina for a nice overcoat. But does either A or B ever see B's or A's advertisements? Not on your beautiful daguerreotype.
That was the way with us-all in New York. The town was full of lonesome strangers, and we went moping round, stumbling over each other and not daring to speak.
They call us "transients" here. It's like a common sailor that's lost at sea; he's only a "casualty." So us poor, homeless dogs in New York are only transients. Why, do you know, I was that lonely I could have stood out in the square like a lonely old cow in the rain, and just mooed for somebody to take me in.
I'd have telegraphed for you and the childern to come to town, but Texas is so far away, and you'd have got here too late, and you couldn't come anyway, being sick, as you wrote me, and one of the kids having malary. How is his blessed self to-day? I hope you're feeling better. Telegraph if you ain't, and I'll take the first train home.
Well, last night I ate a horrible mockery of a Christmas dinner in a deserted restaurant, and it gave me heartburn (in addition to heartache) and a whole brood-stable of nightmares. I went to bed early, and stayed awake late. Gee! that was an awful night.
I tried Philosophy--the next station beyond Despair. I said to myself, "You old fool, why in the name of all that's sensible should you feel so excited about one day more than another?" I wasn't so lonely the day before Christmas, I ain't so lonely to-day, but then I was like a small boy with the mumps and the earache on the Fourth of July. The firecrackers will pop just as lively another day, but--well, the universe was simply throwed all out of gear, like it must have been when Joshua held up the moon--or was it the sun?
Rupert Hughes frames this 1906 Christmas story through two letters written by Colonel D. A. Crockett to his wife. The narrative voice is the Colonel’s own: a folksy, hyperbolic Texan who describes a lonely Christmas Eve in New York and then the enormous co-operative celebration he organizes at Madison Square Garden. The letters shift from a shipwreck anecdote—complete with a floating biscuit box—to a logistical marvel of electric signs, state booths, and a Santa Claus on a grooved sky-track. Hughes lets the Colonel’s breathless prose carry the tale, with only a brief editorial headnote and a few bracketed omissions.
Voice and Vernacular in the Letters
The Colonel’s letters are the entire text, and his voice is unmistakable. He writes to “Friend Wife” with a colloquial energy that mixes frontier tall talk with genuine sentiment. Phrases like “the solitariest, with no seconds” and “blue as all the swear words ever swore” give the prose a rhythmic, oral quality. His shipwreck story—surviving on “Eat Buggins’ Biscuit”—is a classic yarn, but he undercuts it with self-deprecating humor (“me and the box fell over backward”). The voice is consistent: even when describing the Garden’s electric stars and “real live stuffed reindeers,” he stays in character, using “chimbly” for chimney and “stummick” for stomach. This vernacular anchors the fantasy in a specific, recognizable persona.
Pacing: From Isolation to Crowd Spectacle
The first letter dwells on loneliness: a miserable Christmas dinner in a deserted restaurant, memories of past solitude. The pacing is slow, anecdotal, with the shipwreck digression stretching time. Then the second letter accelerates dramatically. The crowd at the Garden is described in a rush of numbers and chaos: “At 6:30 a platoon of police arrived. At 6:40 the line reached twice around the Garden.” The prose becomes a series of short, punchy sentences, mimicking the press of bodies. The fire department hoses the crowd; ambulances give out; fainting women are carried away in wheelbarrows. This shift from reflective yarn-spinning to breathless reportage mirrors the Colonel’s own transition from lonely observer to harried host.
Setting and Structure: The Garden as Co-operative Stage
The setting is Madison Square Garden, transformed into a co-operative Christmas machine. Hughes (through the Colonel) describes it in precise, visual detail: a house with a cotton-snow roof, electric stars, a moon “that looked like the real thing,” and state booths with electric shields. The structure is both physical and social—the Garden is divided into sections for every state and territory, each with its own tree and refreshments. A central sign declares “EVERYBODY IS HEREBY INTRODUCED TO EVERYBODY ELSE—FOR TO-NIGHT ONLY.” This co-operative ethos is the story’s engine: the Colonel rents the hall, charges a dollar admission to filter out “toughs,” and bans alcohol, relying on Christmas goodwill to keep order. The setting becomes a character, a stage for a planned utopia that nearly bursts its seams.
Because the story is told entirely through the Colonel’s letters, readers hear only his perspective—boastful, warm, and occasionally self-mocking. The bracketed editorial omissions (a list of names, for instance) remind us that we are reading a curated document. Pay attention to how the Colonel’s voice shifts between the two letters: the first is a lament, the second a triumph. The co-operative idea is never explained by an outside narrator; it emerges from the Colonel’s own telling, making his character the key to the story’s charm.
There’s a particular warmth in Colonel Crockett’s Co-operative Christmas, that strange blend of grand boast and genuine togetherness—so much like the quiet fellowship found in the old naval yarns. I often think of how The King’s Own — Background and Themes echoes that same improbable camaraderie, a family stitched from rope and salt, much as Crockett’s crowd was stitched from strangers. Two books, one old heartbeat.
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