By Right of Purchase — Context and Discussion

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Bindloss, Harold, 1866-1945, Dewey, Alfred James, 1874-1958 [Illustrator] Project Gutenberg 2011 Not confirmed
Married people -- Fiction; Canada, Western -- Fiction; Farm life -- Canada -- Fiction Readers of public-domain and historical texts
Project Gutenberg digital edition en

Edition facts

Words 97,510
Reading time 424 min
Text sections 9

By Right of Purchase — Context and Discussion can be approached with a clearer sense of reading commitment from its source measurements: 97,510 words, 7 hr 4 min estimated reading time, and 9 detected text sections.

The text analysis averages about 16.1 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 “Married people -- Fiction,” connecting these edition facts with the source record’s subject description.

An editorial note examining how Harold Bindloss's novel frames marriage, farming, and social mobility on the Canadian prairie through the tension between catalog subjects and the actual text's focus on class, pride, and emotional restraint.
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Editorial Edition Score 4.8/5

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

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  • 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.

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Read the Text

Leland did not know. He had merely heard that there was a Carrie Denham; but as he looked down across the moat he was conscious of a sudden interest in the girl. She stood with one hand on the back of a basket-chair, her long white dress flowing in easy lines about her tall and shapely figure. So far as he could see it, her face beneath the big white hat was attractive, too; but it was her pose that vaguely impressed him. There was a suggestion of strength and pride in it that was by no means noticeable in the case of either her father or Jimmy Denham. The appearance of the man with whom she talked was, however, much less pleasing. He was inclined to be portly, his face was coarsely fleshy, with the distinctive stamp of the city on him. He looked out of place in that quaint old pleasance on the desolate border side. He reminded Leland forcibly of the caricatures he had seen of Hebrew usurers.

"And the gentleman?" he asked.

Denham laughed. "You would expect his name to be Moses, or Levy, but, as a matter of fact, it isn't. Anyway, he calls himself Aylmer. A friend of the governor's, and the usual something in the city. Comes down for a week or two at the partridges, ostensibly, at least, though it's quite possible there will be a dog or two, and, perhaps, a keeper, disabled before he goes away. If you care to come down, I'll present you to Carrie. She knows you are here, and is no doubt a trifle curious about you."

If she was, Miss Denham concealed the fact very well, and Leland, who was not readily embarrassed, felt a quite unusual diffidence as she held out a little white hand. He noticed, however, that she looked at him frankly, and that she had a beautiful hand, like the rest of the Denhams. Her face was cold and somewhat colourless, with dusky hair low on the broad forehead, unusually straight brows, and dark eyes; a beautiful face it seemed to him, but one that had a vague suggestion of weariness in it just then. Carrie Denham, he thought, in no way resembled her easy-going brother Jimmy. There was, as he expressed it to himself, more grit in her; and yet he was, without exactly knowing why, rather sorry for her. She was evidently not more than three or four-and-twenty, and he felt there must be a reason for her quietness and reserve, which appeared a trifle unnatural.

She, on her part, saw a tall and wiry rather than stalwart man, some four or five years older than herself, especially straight of limb, holding himself well, whilst his bronzed face, which was otherwise of brown-eyed, English type, showed undoubted force. He was, she fancied, a man accustomed to exert authority, but not exactly what in the most restricted English sense of the word would be called a gentleman. At least, he was evidently one who earned his living, and his hands were curiously brown and hard, while the manner in which he wore his shooting clothes suggested that he seldom wasted much time over his toilet.

"I hope you will find your stay at Barrock-holme pleasant," she said. "In weather like this the birds should lie well. You have not been here long?"

"A week," said Leland.

Jimmy Denham had in the meanwhile passed on. His sister glanced at the fleshy Aylmer, who was about to move the chair for her.

"No," she said in a coldly even voice, "you need not trouble. I am not going to stay here. Have they shown you our dripping-well yet, Mr. Leland?"

Leland, who said he had not seen it, surmised that Miss Denham desired to be rid of her other cavalier; but Aylmer, who protested that he had an absorbing interest in dripping-wells, was not to be shaken off, so they crossed the lawn and went out through the archway together. Then Leland stopped a moment and flashed a questioning glance at Carrie Denham, for the strip of pathway outside the wall was, perhaps, two feet wide, and he could look almost straight down through the tops of the birch trees upon the Barrock flashing in the hollow a hundred and fifty feet below. He was thinking that it would probably go hard with anybody who stumbled there. A railed walk led in the opposite direction.

The catalog subjects for By Right of Purchase list married people, Western Canada, and farm life, but the excerpts reveal a novel more concerned with the strain of social performance than with agricultural labor. The opening chapter dwells on Barrock-holme, an English estate, and Leland's contempt for its heir, Jimmy Denham, before any prairie scene appears. The prairie itself enters only in Chapter VI, and even then, the narrative quickly shifts to interior conflicts: Carrie's regret, Urmston's wounded pride, and Leland's quiet watchfulness.

This note traces how the text's actual emphases—on class distinction, emotional withholding, and the gap between public roles and private feelings—complicate the simple rural romance the catalog might suggest.

Marriage as a Transaction of Unease

The catalog subject "Married people" implies a domestic focus, but the excerpts show marriage as a site of tension rather than partnership. Carrie tells Urmston, "I am as happy as I deserve to be," a line that hedges contentment with guilt. Leland's swift handshake when meeting Urmston is described as suggesting "unquestioning confidence," yet the narrative undercuts this by noting Carrie's gratitude for his speed—implying she feared a scene. Eveline Annersly openly wishes Urmston had broken his leg before arriving, and Gallwey jokes about badger-holes causing accidents. The marriage is not a settled state but a precarious arrangement, constantly tested by old attachments and new suspicions.

The Prairie as a Stage for Class Anxiety

Though the catalog lists "Farm life — Canada" and "Canada, Western," the excerpts treat the prairie less as a setting for agricultural detail than as a backdrop for social maneuvering. Urmston, an English visitor, strolls through a "birch bluff" smoking Leland's cigars, and his thoughts are not on crops but on Carrie's "matter-of-fact friendliness." Leland's own farming is mentioned only obliquely—he returns "hot and dusty" from riding—while the narrative lingers on his indifference to Urmston's attentions, which Urmston finds "galling." The land itself is a stage for class performance: Urmston expects regret and sympathy; Carrie offers none. The prairie does not transform characters; it exposes their ingrained social reflexes.

Voice and the Weight of Unspoken Feeling

Bindloss's prose is notable for what it leaves unsaid. Characters rarely declare their emotions directly; instead, the narrator reports physical cues: Carrie's cheeks burn, Urmston speaks "a trifle hoarsely," Leland swings down "hot and dusty." The dialogue is clipped and evasive. When Carrie says "the time when I might have done so has gone," she refers to trust, but the sentence hangs without elaboration. The narrative voice itself is detached, often observing characters from a slight distance—"Leland wondered vaguely," "Urmston felt that a few hints of regret... would have been considerably more appropriate." This restraint creates a texture of suppressed feeling, where the most charged moments occur in the gaps between words.

Readers approaching By Right of Purchase expecting a straightforward pioneer romance will find instead a novel of manners transplanted to the prairie, where emotional economy matters as much as wheat yields. The catalog subjects point to plot elements, but the text's real work is in the silences, the half-spoken resentments, and the careful choreography of pride. Pay attention to who speaks and who watches—the novel's meaning often lies in the pause before a reply.

Bindloss’s prairie couples wear their pride like a second coat against the frost, and I’ve often thought that quiet stubbornness echoes through the longer landscapes of World's End: A Story in Three Books — A Reader’s Guide, where endurance isn’t shouted, just kept. Both books seem to trust the slow thaw more than the sudden fire. That restraint, I find, ages well on the shelf.

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