Hooking Watermelons 1898 — Text and Context
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Before opening Hooking Watermelons 1898 — Text and Context, the edition data offers a quick orientation: 10,645 words, 47 min estimated reading time, and 2 detected text sections.
The text analysis averages about 21.0 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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Read the Text
w it his memory of it started out vividly in his mind as if to attest how faithfully it had kept each detail. It never would come out so clearly at times when he was far away and needed its comfort. He opened the door softly. The sitting-room was empty, and darkened to keep out the heat and flies. The latched door stood open, and, hearing voices, he tiptoed across the floor with a guileful smile and, leaning through the doorway, saw his mother and sister sitting by the cool, lilac-shaded window, picking over currants for tea, and talking tranquilly. Being a provident young man, he paused a minute to let the pretty, peaceful scene impress itself upon his mind, to be remembered afterward for the cheer of bleak boarding-house Sunday afternoons. Then there was a sudden glancing up, a cry of joyful consternation, and the pan of currants rolled from Amy's lap like a broken necklace of rubies across the uncarpeted floor, while Arthur held mother and sister in a double embrace. And when at length the kissing had all been done, he established himself in his familiar boyish attitude on the window-seat, kicking his heels against the mopboard, with his elbows on his knees, and the three talked away steadily till the shop-bell rang, and Mrs. Steele sprang up in a panic, exclaiming: “Father will be here in five minutes, and the currants are on the floor. Come, Amy, quick; we must pick some more, and you shall help, Arthur.”
But though he went out into the garden with them readily enough, it was quite another thing to make him pick currants, for he insisted on wandering all over the place and demanding what had become of everything he missed, and the history of everything new. And pretty soon Mr. Steele also appeared in the garden, having found no one in the house on reaching home. He had learned on the street that Arthur had arrived, and came out beaming. It was good to see the hearty affection with which the two shook hands.
The transition of the son from the pupilage of childhood and youth to the independence of manhood is often trying to the filial relation. Neither party fully realizes that the old relation is at an end, or just what the new basis is, or when the change takes place. The absence of the son for two or three years at this period has often the best results. He goes a boy and returns a man; the old relation is forgotten by both parties, and they readily fall into the new one. So it had fared with Arthur and his father.
“You've got a splendid lot of watermelons,” said the former, as they arrived at the upper end of the ample garden in their tour of inspection.
“Yes,” replied Mr. Steele, with a shrug; “only thus far they've been stolen a little faster than they 've ripened.”
“What made you plant them so near the fence?”
“That was my blunder; but you see the soil is just the thing, better than lower down.”
“Why don't you buy a bulldog?”
“I think it's more Christian to shoot a man outright than to set one of those devils on him. The breed ought to be extirpated.”
“Put some ipecac in one or two. That 'll fetch 'em. I know how sick it made me once.”
“I did; but more were stolen next night. I can't afford to medicate the whole village. Last night I sat up to watch till twelve o'clock, when mother made me go to bed.”
“I'll watch to-night,” said Arthur, “and give 'em a lesson with a good load of beans from the old shotgun.”
“It would n't pay,” replied his father. “I concluded last night that all the melons in the world were n't worth a night's sleep. They 'll have to go, and next year I 'll know more than to plant any.”
“You go and help Amy pick currants, and let me talk to the boy a little,” said Mrs. Steele, coming up and taking Arthur off for a promenade up the broad path.
“How pretty Amy has grown,” said he, glancing with a pleased smile at the girl as she looked up at her father. “I suppose the young men are making sheep's eyes at her already.”
“It does n't do them any good if they are,” said Mrs. Steele, decisively. “She's only sixteen and a little girl yet, and has sense enough to know it.” “What had she been crying for when I arrived? I saw her eyes were as red as the currants.”
The story opens with a train slowing for the town of “Bah”—a phonetic rendering of “Bath” that immediately signals Bellamy's ear for regional speech. Among the passengers is Arthur Steele, a New York lawyer whose diamond pin and easy handshake mark him as a local success story. The station loafers, described as a “committee of safety,” eye arrivals with lazy suspicion, yet Steele is welcomed warmly. Bellamy uses this arrival scene to establish a community that both judges and celebrates its own, setting up a tension between insider and outsider that will shape the narrative.
A Return and a Reckoning
The first excerpt follows Arthur Steele through Fairfield, where every handshake reinforces his status as a credit to the village. Bellamy captures the rhythm of small-town recognition: “everybody he met on the street insisted on shaking hands with him.” Steele's past is invoked through a childhood friend's rueful remark that “many 's the time he 'n' I 've been in swim-min' and hookin' apples together.” This detail—the shared mischief of youth—foreshadows the story's central act of theft, but also suggests a gap between Steele's polished present and his roots. The narrator notes that Steele's politeness “generally did” leave a pleasant impression, a small verbal cue that his charm is habitual rather than spontaneous.
The Theft and Its Discovery
The second excerpt shifts to a moonlit watermelon patch, where a young woman named Lina Maynard is caught stealing. Bellamy renders her terror through physical details: the farmer's grip is “not painful but sickeningly firm,” and her attempt to break away is “impotent.” The farmer's dialect—“Wal, I swan ter gosh, if 't ain't a gal!”—contrasts sharply with Lina's refined speech, highlighting the class divide. Her internal collapse is described with clinical precision: she “relapsed into the mental condition of a juvenile culprit,” and her sense of guilt becomes absolute under the farmer's grasp. The scene pivots on her desperate offer of her father's money, which undercuts her earlier pride.
Voice and Social Hierarchy
Bellamy uses dialogue to map social positions. The station loafers speak in colloquial contractions (“did n't,” “allers,” “genooine”), while Arthur Steele's speech is absent from the excerpt—he is described, not heard. Lina's initial silence when asked her name gives way to a flood of pleading: “My father is a rich merchant in New York, Broadway, No. 743.” The specificity of the address suggests a world of commerce and status far from Fairfield. The farmer's repeated shakes and gruff questions reduce Lina to a childlike state, yet his threat of the lock-up introduces an institutional power that transcends personal authority. Bellamy leaves ambiguous whether the farmer is genuinely menacing or performing a role.
Narrative Gaps and Reader Expectations
The excerpts end before the story resolves, leaving key questions open. Does Arthur Steele witness Lina's capture? The earlier mention of his sister singing in the Baptist choir hints at family ties that may connect him to the town's moral fabric. The title “Hooking Watermelons” frames the act as youthful mischief, but the farmer's reaction suggests a more serious transgression. Bellamy withholds the outcome of Lina's plea and the farmer's decision, forcing the reader to weigh sympathy against the rule of law. The story's brevity—around 10,600 words—means these threads will likely converge quickly, rewarding attention to early details like the diamond pin and the handshake.
Readers should note how Bellamy balances two narrative strands: the returning native and the caught thief. The opening's leisurely pace, with its focus on local color and dialect, gives way to a tense, almost claustrophobic encounter. Pay attention to the function of the station loafers—they appear only at the start, but their judgmental gaze lingers. The story's moral weight depends on whether the reader sees Lina's theft as a prank or a crime, and whether Steele's success is earned or accidental.
There’s something about that small-town judgment in Hooking Watermelons that stayed with me—how quietly we decide who deserves grace. I found a similar ache in High Noon: A New Sequel to 'Three Weeks' — Themes and Context, where old choices keep whispering through the present. It felt less like reading, more like remembering something I hadn’t lived through yet.
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