Mrs. Christy's Bridge Party — Edition Insights

(0 User reviews)   1290
Bassett, Sara Ware, 1872-1968 Project Gutenberg 2007 Not confirmed
New York (N.Y.) -- Fiction; Social classes -- United States -- Fiction; Bridge players -- Fiction Readers of public-domain and historical texts
Project Gutenberg digital edition en

Edition facts

Words 6,242
Reading time 28 min
Text sections 1

Mrs. Christy's Bridge Party — Edition Insights can be approached with a clearer sense of reading commitment from its source measurements: 6,242 words, 28 min estimated reading time, and 1 detected text section.

The text analysis averages about 15.9 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 “New York (N.Y.) -- Fiction,” connecting these edition facts with the source record’s subject description.

Sara Ware Bassett's 1907 story uses clipped dialogue and social detail to trace how a bridge party becomes a tool for class ascent among New York's wealthy, revealing the transactional nature of friendship and status.
Share
Editorial Edition Score 4.3/5

Calculated from edition completeness, EPUB availability, text structure and catalogue metadata. Not a user rating.

How this score is calculated
  • 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.

Edition quality

Read the Text

She was sweeping down the staircase to greet her hostess when she suddenly stopped aghast! From opposite directions--entirely unconscious of the other's approach--came Ethel Danielson and Elise Thayer. There was no avoiding the collision at the foot of the stairs and the three women were brought abruptly face to face.

"My dear Mrs. Norman!"

Mrs. Norman was the first to speak. She was the only one who had had the opportunity to summon her story to her tongue's end. She began glibly and with nervous haste:

"My dears, I positively had to come! Reggie would have it so. He and Mr. Christy are mixed up in some financial operations, and he said it was policy: I'm perfectly mortified to be here!"

Nevertheless, she glanced about her in most interested scrutiny.

"It was a pure and simple case of money with me," announced Ethel Danielson, with suave frankness. "My furs are not paid for, and the bills for my Palm Beach gowns are pouring in. These trades people are so loathsomely prompt with their bills and so maddeningly slow every other way! I wish they would reverse it. So I came to see if I could not get something out of it--that's between us. If I draw any decent partners I ought to, for I generally have good luck."

"Now, Elise, you see we were each forced into coming," said Mrs. Norman accusingly, "for goodness sake, why did you come?"

"Well, I considered it carefully. The Christys are bound to get in--if not now, later! They have come to stay, and they will hammer away, with their millions behind them, until they're in. What's the use of standing out against it? They will only snub me by and by," returned Elise Thayer with defiant truthfulness.

Mrs. Norman colored and looked uneasily at Ethel Danielson.

Mrs. Danielson eyed Mrs. Norman uncomfortably. Each seemed to hear a fearless echo of her own secret reasoning.

"Besides," continued Elise, smiling honestly, "you know you each meant to come all the time, only you won't admit it."

For an instant there was an awkward pause, then Mrs. Norman laughed in chagrined amusement.

"Well, we won't discuss it now," she said; "run along up and leave your wraps--both of you--and I'll wait for you. We will go in together."

A few seconds later they were approaching their hostess with outstretched hands.

"My dear Mrs. Christy," cooed Mrs. Norman, "so good of you to include me among your guests! I know how many friends you have and one can't invite them all."

Mrs. Christy took the extended hand murmuring:

"So nice of you to come with your chaos of engagements! Mrs. Danielson, too!"

"I was delighted to have you think of me, Mrs. Christy," Mrs. Danielson returned effusively, "and you may be sure yours was the only invitation I considered for this afternoon--I let all the others go."

Elise Thayer followed with:

"Mrs. Christy, I've so anticipated to-day! I adore bridge and to have the pleasure of being one of your guests made it additionally delightful."

The three moved on and glanced over the rapidly crowding rooms.

"Really," whispered Mrs. Norman, "everybody is here. I'm amazed! There are the Baring De Wolfs and the Wilson Delafields and Mrs. Morgan Knickerbocker. You know how exclusive they are! And there is Mrs. Cecil Jerome! I saw her yesterday and she never said a word about coming."

"Let's go and speak to her a moment before they sit down to play," suggested Ethel Danielson.

As they drifted in and out of the gathering assembly, varied snatches of conversation reached them:

"Beautiful house, isn't it?"

"Yes, but overloaded--like the owner's hats! She is awfully bothered about getting hats, she told me, and recently a French milliner begged to see 'WHAT SHE COULD DO WITH HER.' Judging from the hat Mrs. Christy wore at the St. Regis the other day, I guess the woman found out! Any milliner who can get a patron to step out of the solitude of her boudoir in such a concoction must have convinced herself that she can do ANYTHING with her!"

"I don't think much of her gown," murmured another, "hideously unbecoming!"

"I hope we shall not run into any of those people who 'TAKE A HAND JUST TO ACCOMMODATE!'" chimed another. "I think there ought to be a law prohibiting women who haven't taken lessons in the game, going to parties and helping lose other people's money for them."

"I hate to play with either of those Hartwells--they simply blow your head off after every hand; they haven't any manners!" put in a blond in a creation of blue chiffon and silver.

Sara Ware Bassett opens Mrs. Christy's Bridge Party not with the hostess but with two fashionable women lunching at Sherry's, their conversation immediately establishing a world where servants, gowns, and social obligations are weighed with equal precision. Mrs. Reginald Norman's complaint that her Parisian maid was dismissed for not playing bridge—thus spoiling a third table—introduces the story's central mechanism: bridge as a gatekeeping device. The dialogue moves briskly, layering anxieties about appearance, household management, and the relentless social calendar. Bassett's ear for the clipped, knowing exchanges of this set gives the narrative a documentary quality, recording the unspoken rules that govern inclusion and exclusion.

Dialogue as Social Barometer

The story's dialogue does more than advance plot; it registers status. When Mrs. Danielson asks about the Christy party, she frames it as a test: “I thought of you the minute I opened the cards and wondered what you would do—you have said so much about them.” The hesitation over attending reveals that the party is not merely a social event but a referendum on the hostess's standing. Bassett lets characters betray themselves through word choice. Mrs. Norman's vehement “Don't mention bridge to me!” is undercut by her immediate segue into a servant problem, suggesting that bridge is never far from mind. The women speak in exclamations and rhetorical questions, a style that conveys both intimacy and competition.

The Weight of Material Detail

Bassett anchors her characters' identities in objects: a gown “built by the highest court of appeal on Parisian fashions,” a maid brought from Paris, a house wired for security. These details are not decorative but functional, signaling the precise social coordinates of each speaker. Mrs. Norman's gown “fitted flawlessly” and gave her “poise,” linking appearance directly to confidence. When Mrs. Christy later learns about house-wiring from the other women, the conversation shifts from burglary to social safety: the same technology that protects property also protects reputation. The story treats possessions as extensions of personhood, and Bassett's descriptions are exact enough to feel reportorial.

The Unseen Hostess and the Party's Purpose

Mrs. Christy herself appears only briefly, and her party is described mostly through its aftermath. The reader learns of its success through a telephone call: “It was a lovely party! All in such good taste.” Mrs. Norman's assessment that Mrs. Christy “has a good deal of savoir faire already” implies that social skill can be acquired, and that the party was a performance. The final line—“She has 'bridged it' in more senses than one!”—makes explicit the pun that governs the story: bridge is both the card game and the act of crossing a social threshold. Bassett withholds the hostess's interior life, focusing instead on how others judge her, which keeps the narrative firmly in the realm of social observation.

Economy of Structure

At roughly 6,200 words, the story moves efficiently from lunch to party to post-mortem. Bassett uses a small cast—Mrs. Norman, Mrs. Danielson, and a few others—to represent a larger social ecosystem. The opening scene at Sherry's establishes the rules of this world; the middle section, though not fully excerpted, presumably depicts the party itself; the closing telephone call confirms the outcome. This three-part structure mirrors the arc of a social transaction: anticipation, execution, evaluation. Bassett's prose is lean, favoring dialogue over description, and she trusts readers to infer the stakes from what is said—and what is left unsaid.

Readers approaching Mrs. Christy's Bridge Party should attend to the spaces between lines: the anxieties that surface in casual remarks, the way a compliment can double as a slight. Bassett's story is a study in manners as strategy, and its brevity rewards careful attention to how status is claimed, defended, and conferred. The bridge table, like the lunch table, is a stage.

Reading about Mrs. Christy’s bridge party, I kept thinking how those quiet social rituals carry so much weight, how a gesture or a pause can shift everything. It reminded me of a book that lingered with me for the same reason, In the Rocky Mountains — Story, Setting & Ideas, where the landscape itself feels like a silent participant in every choice. That ache of unspoken things stayed with me long after.

There are no reviews for this eBook.

0
0 out of 5 (0 User reviews )

Add a Review

Your Rating *
There are no comments for this eBook.

Reader reflection

Take a moment to reflect on this book

Create a short personal record of your experience with this book.

Your progress 0 / 10
1

Have you finished this book?

2

What was your overall reaction to the book?

3

Is this a title you would suggest to others?

4

What was the reading difficulty like?

Related eBooks