A Crooked Mile — Background and Themes
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The source record for A Crooked Mile — Background and Themes measures this digital text at 85,676 words, 6 hr 13 min estimated reading time, and 8 detected text sections.
The text analysis averages about 16.0 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 “Man-woman relationships -- Fiction,” 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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Tasker said "I will not," nineteen she repented and went, taking out the small change of her magnanimity when she got there. And after all, she would be killing two birds with one stone, for her niece Dorothy also lived somewhere in this northern Great Karroo, and unless she got these things over before the "Seringapatam" dropped anchor on Saturday there was no knowing when next she would have an hour to call her own. As she turned (after a brush with a second policeman, who summed her up quite wrongly on the strength of her antiquated pelisse and trailing old Victorian hat) down Merton Lane to the ponds, she told herself again that she was a foolish old woman to have come at all.
For the Cosimo Pratts were not bosom friends of hers. True, they had been, until six months ago, her neighbours at Ludlow, and for that matter she had known young Cosimo's people for the greater part of her life: but she had not forgotten the hearty blackguarding the young couple had got, any time this last two years, from the rest of the country-side. Small wonder. What else did they expect, after the way in which they had made farm-labour too big for its jacket and beaters hardly to be had for love or money? Not that Lady Tasker herself had seen very much of their antics. Great-nieces and nephews had kept her too busy for that, and she was moreover wise enough not to believe all she heard. And even were it true, that, she now told herself, had been in the country. They would have to behave differently now that they had let the Shropshire house and had come to live in town. They could hardly dance barefoot round a maypole in Hampstead, or stage-manage the yearly Hiring-Fair for the sake of the "Daily Speculum" photographer (as they had done in Ludlow), or group themselves picturesquely about the feet of the oldest inhabitant while that shocking old reprobate with the splendid head recited (at five shillings an hour) the stories of old, unhappy, far-off things he had learned by heart from the booklets they had printed at the Village Press. No: in London they would almost certainly have to do as other people did, and Shropshire, after its three years of social and artistic awakening, would no doubt forget all about the aesthetic revival and would sink back into a well-earned rest.
It was a Thursday afternoon in September, warm for the time of the year, and a half-day closing for the shops. Had Lady Tasker remembered the half-holiday she certainly would not have come. She hated crowds, and, if you would believe her, had no illusions whatever about the sanctity of our common nature and the brotherhood of man. She would tell you roundly that there was far too much aimless good-nature in the world, and that every sob wasted over a sinner was something taken away from the man who, if he was a sinner too, had at least the decency to keep up appearances. And so much for brotherhood. Great-nephewship, of course, was another matter. Somebody had to look after all those youngsters, and if her sister Eliza, the one at Spurrs, went into a tantrum about every bud that was picked in the gardens and every chair-leg that was an inch out of its place in the house, so much the worse for Lady Tasker, who must walk because she had something else to do with her money than to waste it on taxis.
She had been told by her niece Dorothy to look out for a clump of tall willows and an ivied chimney; that was where the Pratts lived; but Dorothy had spoken of the approach from the Hampstead side, not from Highgate way. Lady Tasker got lost. She was almost dropping for want of a cup of tea, and the Heath seemed all willows, and all the wrong ones. No policeman, Radical or Conservative, was to be seen. Walking across an apparently empty space, well away (as she thought) from a horde of shouting boys, the old lady suddenly found herself enveloped in a game of football. This completed her exhaustion. Near by, one of Messrs. Libertys' carts was ascending a steep road at a slow walk; somehow or other Lady Tasker managed to get her hand on the tail of it; and the car gave her a tow. She was seventy after all.
The novel opens with a precise comic set piece: Lady Tasker, lost in the London Underground, transforms a minor transit error into a test of social hierarchy. Her gold-rimmed glass, her semi-ventriloquial asides, and her ability to turn a policeman into a 'fuming Radical' within minutes establish a narrator who observes class friction through small, telling details. The prose moves from the clipped rhythms of the Tube station to the longer, more reflective sentences of later scenes, signaling a work that modulates its pace as it shifts between public embarrassment and private negotiation.
Voice and Gesture in Dialogue
The excerpts reveal a writer attentive to how characters speak and move. Lady Tasker's dialogue is marked by imperious asides and a refusal to engage with local geography—'Merton Lane! Does the man suppose that conveys anything to me?'—while the younger Amory's exchanges are quieter, more hesitant. In one scene, a character grips hands 'so hard' before saying goodbye, and Amory 'tore herself away' at a stairway. These physical details, paired with the whistling, bare-necked young woman who asks for a poster artist, suggest a world where class and artistic bohemia intersect through gesture and tone.
Letters and the Texture of Distance
A long letter from India, read aloud by Dorothy, occupies a substantial portion of the excerpts. Its catalogue of domestic details—the green durrie, the chintz curtains 'just like Harrods' catalogue'—contrasts sharply with the opening's urban disorientation. The letter's voice is colloquial and specific: 'the beastliest journey,' 'Baba slept like a lump.' This shift in register, from satirical third-person to intimate first-person, creates a layered narrative where distance is bridged by material description. The novel's structure, with its three parts and titled chapters, suggests that such letters may serve as structural pivots, altering the story's tempo.
Pace and the Unfinished Scene
The excerpts break off at moments of transition: Amory on a stairway, Dorothy mid-sentence. This incompleteness is itself a clue to Onions' method. The opening chapter, 'The Witan,' moves from Lady Tasker's Tube misadventure to a broader social scene, while later chapters like 'The Outsiders' introduce new voices without immediate resolution. The novel's word count (over 85,000) and its division into three parts imply a deliberate pacing—alternating between compressed, ironic vignettes and expansive, epistolary passages. Readers should attend to how the narrative speeds up or lingers, especially in scenes of leave-taking or domestic description.
Because the excerpts are incomplete, the novel's full arc remains uncertain. What is clear is Onions' interest in the friction between public roles and private feeling, rendered through precise dialogue and shifts in narrative distance. Pay attention to how characters occupy space—stairways, stations, verandahs—and how the prose itself changes speed when moving from satire to intimacy. The 'crooked mile' of the title may refer less to a literal path than to the indirect routes of communication and desire.
There’s a particular ache in reading Onions—how he catches the weight of a glance or a pause between married people. It reminded me of old detective stories, where silence itself is a clue. I found myself thinking of Dangerous Ground; or, The Rival Detectives — Edition Insights afterwards, that same careful listening between lines. A quieter kind of suspense, maybe.
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