Julia The Apostate — Reading Companion

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Bacon, Josephine Daskam, 1876-1961 Project Gutenberg 2007 Not confirmed
Middle-aged persons -- Fiction; Love stories, American Readers of public-domain and historical texts
Project Gutenberg digital edition en

Edition facts

Words 7,998
Reading time 35 min
Text sections 1

For Julia The Apostate — Reading Companion, the stored edition analysis reports 7,998 words, 35 min estimated reading time, and 1 detected text section.

The text analysis averages about 18.7 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 “Middle-aged persons -- Fiction,” connecting these edition facts with the source record’s subject description.

An editorial note on Josephine Daskam Bacon's 1903 novella, examining how diction, dialogue, and descriptive detail reveal the protagonist's quiet rebellion against the diminutive nicknames and domestic expectations imposed by her nieces.
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Editorial Edition Score 4.3/5

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  • Description quality20 pts
  • Title & short description10 pts
  • Source metadata20 pts
  • Text length15 pts
  • Chapters / structure15 pts
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Read the Text

this the discussions were wont to cease.

To-day the apartment was swept and garnished for a social function long planned by the nieces. Carnations leaned from tall glass vases, intricate little cakes jostled carefully piled sandwiches, and a huge brass samovar, borrowed for the occasion, gave dignity to the small parlor. Miss Trueman had learned by now the unwritten law that prevented the various objects in the once proudly segregated “drawing-room set” from association with each other, and made no attempt to correct their intentional isolation. The samovar she refused utterly to meddle with, assuring them that she would as soon think of running a locomotive.

As the guests began to arrive Miss Trueman found herself regarding them even more critically than usual; an argumentative spirit rose in her, and her calm contradiction of Mrs. Ranger, who discussed with great subtlety the notable advantages--even from the artistic point of view--of the approaching spring when experienced in the city, in comparison with that be-rhymed season's vaunted country beauties, startled more than one person.

“Just because they're more delicate, just because you must look harder to discover them, just because you must get as much from a pot of hyacinths on the Avenue as from a whole field of primroses in the backwoods, you know,” she concluded, and the little circle nodded sagely and congratulated themselves on an unpublished paragraph.

“I don't agree with you, Mrs. Ranger,” said Aunt Ju-ju flatly, to the absolute amazement of her nieces and the tolerant amusement of the assembly. “I guess you haven't lived in the country much, or you wouldn't talk so. And primroses don't grow in fields here, anyway. If you could see my hyacinths and crocuses in round beds at home, you wouldn't mention those poor little stalks in the pots.”

Mrs. Ranger laughed, and directed her searching, level glance at the older woman, who combined in her comely, undisguised middle age something at once more matronly and more childish than the analytic authoress could ever find in her own mirror.

“Aha!” she cried, “then you are no friend of dear old Horace, after all, Miss Trueman! He and I, you see--”

The relation of these two urbanites was revealed no further, for a bustle in the little hall drew attention to a newcomer unknown not only to the guests but evidently to the hostesses, who rose, smiling uncertainly, as a portly, broad-shouldered man with iron-gray hair made his way through the group about the samovar.

“I'll have to introduce myself, I see,” he began, not precisely with what an exigent society calls ease of manner, but with a certain practical self-possession quite as effective.

“I didn't expect the girls to remember me, but I thought perhaps you might, Julia.”

Miss Trueman peered out from the shaded five-o'clock gloom so dear to Carolyn's soul.

“I don't seem--it's not--why, Cousin Lorando Bean, it's not you?”

“That's it,” he said heartily, “that's just exactly it. And he's mighty glad to see some of his relations again, I can tell you. And these are Carrie and Lizzie, I suppose. Well, well, fifteen years is a long time, even to an old fellow like me, and you girls were just beginning to be young ladies when I left Connecticut. How are you all?”

If this simple greeting came like a breath of her native air to Miss True-man, it cannot be said to have had a similar effect on her nieces. Courtesy prevented a full expression of their feelings, but they affected no undue delight at the presence of their new-found relative--whom they had very sincerely forgotten, along with many other details of a somewhat inartistic youth--and turned to their other guests with a frank relief when they had established him, with a cup of tea, a sandwich, and Aunt Julia, in the near-by dining-room.

“A third or fourth cousin, I believe, who has lived a long time in the West,” they explained. The company, some of whom doubtless possessed third or fourth cousins from the West, nodded comprehensively, and the interrupted function flowed smoothly on again.

Cousin Lorando Bean balanced his cup on his broad palm and gazed about appreciatively at the casts and water-colors on the dull green walls.

“Very snug little quarters, these,” he volunteered, “but, do you know, Cousin Jule, I suppose it's all right for ladies, but I don't seem to breathe extra well in these little rooms, somehow! I've been in two or three of them like this, more or less, since I came to New York--people I used to know that I've been hunting up--and, by George, I began to feel as if I was getting red in the face, if you see what I mean.”

Josephine Daskam Bacon opens Julia the Apostate with a scene of millinery manipulation: Carolyn perches an aigrette on her aunt's head, insisting it is 'deliciously chic.' The gesture is trivial, but the language is not. Carolyn sprinkles French phrases like a cook uses onion, and the narrator notes that she 'interpolated it in the Litany.' This early detail establishes a pattern of verbal aggression masked as affection. The nieces rename their aunt 'Ju-ju,' a sound Julia Trueman associates with 'strips of unwholesome flesh-colored paste' and, worse, 'Jo-jo, the Dog-faced Boy.' Bacon lets the reader feel the sting of a name that cannot be refused.

The Weight of a Nickname

Julia's discomfort with 'Ju-ju' is not a minor quibble. Bacon traces the word's history: it recalls a childhood candy, then a sideshow exhibit. The niece Carolyn defends the practice by citing the Chatworth family—'the old doctor calls Captain Arthur "Ga-ga"' and the silver-haired sister is 'Looty.' The examples are meant to prove fashion, but they sound absurd. Julia's protest is quiet: she 'pursed her lips quizzically' and suggests that putting things askew for variety becomes tiresome. Her voice is the only sensible one in the room, yet she is overruled. The narrator never sides openly with Julia, but the accumulation of detail—the winces, the rankling memory—makes the imbalance clear.

Dialogue as a Battlefield

Bacon writes dialogue that carries subtext. When Carolyn says, 'Now don't touch it, Aunt Julia, for it's deliciously chic, and if you had your way you'd flatten it down right straight in the middle—you know you would,' the command is disguised as affection. Julia's reply is tentative: 'I've always thought, Carrie—lyn,' she adds hastily, correcting herself before the truncated name can offend. The dash and the italicized suffix show her walking a tightrope. Later, when Cousin Lorando Bean proposes an impulsive trip, Carolyn is 'cross' at having to pack her aunt's bag. The novelist Mrs. Ranger observes, 'It makes a difference, having a man to run it.' The remark is dry, but it underscores how Julia's autonomy is mediated by others.

Setting as a Declaration of Independence

The shift from the nieces' fashionable city home to the Connecticut farm is more than a change of scenery. Lorando Bean speaks of the old place with genuine feeling: 'I love every stick and stone of that farm. I love the country, and I love Connecticut country best of all, I don't care if it is rocky.' His language is plain and direct, in contrast to Carolyn's French affectations. Julia's decision to go with him—'I believe I will!'—is the first decisive action the reader sees her take. The nieces are left 'tired and cross' after a hot train ride, while Lorando sits in 'snowy shirtsleeves, tilted back in his chair against the house, smoking his fat, dark cigar.' The farm represents a world where Julia's preferences matter.

The Apostate's Quiet Rebellion

The title Julia the Apostate suggests a religious or ideological defection, but the text shows a woman abandoning not faith but a role. Julia's apostasy is her refusal to remain the pliable aunt. She does not argue or confront; she simply acts. When Lorando proposes buying the farm and suggests she keep half the house, she says thoughtfully, 'That would be nice.' The understatement is characteristic. Bacon does not dramatize the break—Julia does not announce it. The nieces' confusion ('I don't understand Aunt Ju-ju at all') signals that her rebellion is incomprehensible to them because it is not verbal. It is enacted through a suitcase packed in fifteen minutes and a week's unexplained absence.

Bacon's novella is brief—under 8,000 words—but its attention to the texture of everyday tyranny is precise. The reader is invited to watch how a woman reclaims her name, her time, and her home without ever raising her voice. The evidence is in the details: the aigrette, the nickname, the cigar ash dropped in a bonbon dish. Julia the Apostate rewards a slow reading, one that listens for what is not said as much as what is.

That gray afternoon, I kept returning to the page where the niece pats Julia’s hand and calls her “pet.” The quiet sting of it lingered after I closed Julia The Apostate — Reading Companion, and I found myself reaching for another old volume, one that treats a son’s borrowed name with similar tenderness. Adam Johnstone's Son — A Closer Reading felt like the same rain on a different window.

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