The Kentuckian in New-York; or, The Adventures of Three Southerns. Volume 1 (of 2) — Story, Setting & Ideas

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Caruthers, William Alexander, 1802-1846 Project Gutenberg 2011 Not confirmed
Adventure stories; City and town life -- New York (State) -- New York -- Fiction Readers of public-domain and historical texts
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Edition facts

Words 56,750
Reading time 247 min
Text sections 5

The catalog record for The Kentuckian in New-York; or, The Adventures of Three Southerns. Volume 1 (of 2) — Story, Setting & Ideas provides practical reading context through 56,750 words, 4 hr 7 min estimated reading time, and 5 detected text sections.

The text analysis averages about 24.8 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 “Adventure stories,” connecting these edition facts with the source record’s subject description.

Caruthers' 1834 novel follows three Southern travelers to New York, blending adventure with detailed observations on slavery, regional identity, and social customs. The excerpts reveal a sharp contrast between the catalog's 'adventure' label and the work's extended, essay-like critiques of plantation life.
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Towards the latter part of the summer of 18--, on one of those cool, delightful, and invigorating mornings which are frequent in the southern regions of the United States, there issued from the principal hotel on the valley-side of Harper's Ferry two travellers, attended by a venerable and stately southern slave. The experienced eye of the old ferryman, as he stood in his flat-bottomed boat awaiting the arrival of this party, discovered at once that our travellers were from the far South.

The first of these, Victor Chevillere, entered the "flat," leading by the bridle a mettlesome southern horse; when he had stationed this fine animal to his satisfaction, he stood directly fronting the prescriptive Charon of the region. This young gentleman, who appeared to be the principal character of the party just entering the boat, was handsomely formed, moderately tall, and fashionably dressed. His face was bold, dignified, and resolute, and not remarkable for any very peculiar fashion of the hair or beard which shaded it. He appeared to be about twenty-three years of age, and though so young, much and early experience of the world had already o'ershadowed his face with a becoming serenity, if not sadness. Not that silly, affected melancholy, however, which is so often worn in these days by young and romantic idle gentlemen, to catch the errant sympathies of some untravelled country beauty.

The next personage of the party (who likewise entered the boat leading a fine southern animal), was a fashionable young gentleman, about the middle size; his face was pale and wan, as if he had but just recovered from an attack of illness. Nevertheless there was a brilliant fire in his eye, and a lurking, but too evident, disposition to fun and humour, which illness had not been entirely able to subdue. Augustus Lamar, for such was his name, was the confidential and long-tried friend of the first-named gentleman: their mutual regard had existed undiminished from the time of their early school days in South Carolina, through their whole college career in Virginia up to the moment of which we speak.

The third and more humble personage of the party bore the time-honoured appellation of Cato. He was a tall old negro, with a face so black as to form a perfect contrast to his white hair and brilliant teeth. He was well dressed and cleanly in his person, and rather solemn and pompous in his manners. Cato had served the father of his present highly honoured young master, and was deeply imbued with that strong feudal attachment to the family, which is a distinguishing characteristic of the southern negroes who serve immediately near the persons of the great landholders.

Our travellers were now smoothly gliding over that most magnificent "meeting of the waters" of the Shenandoah and Potomack, which is usually known by the unpretending name of "Harper's Ferry." It was early morning; the moon was still visible above the horizon, and the sun had not yet risen above those stupendous fragments whose chaotic and irregular position gives token of the violence with which the mass of waters rent for themselves a passage through the mountains, when rushing on to meet that other congregation of rivers, with whose waters they unite to form the Bay of the Chesapeake. The black bituminous smoke from the hundred smithies of the United States' armory, had just begun to rise above the towering crags that seemed, at this early period, to battle with the vapours which are here sent up in thick volumes from the contest of rocks and rivers beneath.

Old Cato had by this time assumed his post at the heads of the three horses, while our southerns stood with folded arms, each impressed with the scene according to his individual impulses. As they approached nearer to the northern shore, Chevillere, addressing Lamar, observed: "An unhappy young lady she must be who arrived at our hotel last evening. I could hear her weeping bitterly as she paced the floor, until a late hour of the night, when finally she seemed to throw herself upon the bed, and fall asleep from mere exhaustion;" and then, turning to the weather-beaten steersman, continued: "I suppose we are the first passengers in the 'flat' this morning?"

"No, sir, you are not; a carriage from the same tavern went over half an hour ago. There was an old gray-headed man, and two young women in it, besides the driver, and the driver told me that they were all the way from York State,--the mail stage, too, went over."

"The same party," said Chevillere, abstractedly; "Did you learn where they were to breakfast, boatman?"

"About ten miles from this, I think I heard say."

William Alexander Caruthers opens The Kentuckian in New-York not in the city of the title but at Harper's Ferry, where two travelers and a slave board a flat-bottomed boat. The ferryman instantly reads them as "from the far South" by their horse and bearing. This initial scene establishes a pattern: the novel is as much about the journey and the travelers' regional identity as about New York itself. The catalog subjects list "Adventure stories" and "City and town life," but the excerpts show that adventure is often set aside for extended, essay-like discussions—most notably a long critique of slavery in the Deep South, delivered by one character to another. The work's subtitle promises "The Adventures of Three Southerns," yet the surviving text suggests that the real adventure may be the encounter between Southern perspectives and Northern realities.

A Travelogue That Pauses for Polemic

The excerpts reveal a narrative that frequently halts its forward motion for set-piece arguments. The longest continuous passage in the provided text is not a chase or a confrontation but a detailed, first-person account of slave life on a Deep South plantation. The speaker describes the "black drivers" with cow-skin whips, the weekly ration of "one peck of Indian corn, or three pecks of sweet potatoes," and the practice of slaves clubbing their food into a common kettle. He even recounts visiting the quarter to share their meal, noting that "more than three-fourths lived substantially well"—a claim that sits uneasily with the earlier indictment. This digression, which reads more like a reform tract than a novel, suggests that Caruthers used the adventure frame as a vehicle for social commentary. Readers expecting nonstop action may find the pace uneven, but those interested in antebellum Southern attitudes toward slavery will find a rich, if contradictory, source.

The Narrator's Regional Voice

The author identifies himself on the title page as "A Virginian," and the excerpts bear out a careful, often defensive, regional perspective. The speaker who condemns Deep South slavery is himself a Southerner, and he draws a sharp line between Virginia's domestic slavery and the harsher plantation system further south. He claims that in Virginia "the slaves are more in the condition of tenants to their landlords" and that masters grieve the death of an old servant. This distinction is central to the novel's moral geography. The work's catalog subjects list only "Adventure stories" and "City and town life," but the excerpts show that the narrative is deeply concerned with defining what it means to be a Southerner—and a good Southerner—in the 1830s. The voice is that of an insider critiquing his own region, yet the critique is carefully bounded: it never questions the institution of slavery itself, only its cruelest forms.

What the Catalog Omits

The Project Gutenberg catalog entry tags this work under "Adventure stories" and "City and town life — New York (State) — New York — Fiction." The excerpts, however, contain no scenes set in New York City. The opening takes place at Harper's Ferry, and the long slavery discussion is set in an unnamed Southern location. The novel's title promises a Kentuckian in New-York, but the surviving text suggests that the first volume may spend considerable time on the journey and on Southern scenes before reaching the city. The catalog's secondary topic "adventure-fiction" also sits oddly with the excerpt's dominant mode: the longest passage is a static, descriptive monologue. This mismatch between catalog and content is a reminder that nineteenth-century novels often mixed genres freely. A reader who picks up this book expecting a fast-paced urban adventure may be surprised to find a work that is, at least in part, a fictionalized travelogue and a moral essay on slavery.

The excerpts from The Kentuckian in New-York show a novel that resists easy categorization. It is part adventure, part travelogue, part social critique—and the balance among these elements may shift as the story progresses. Readers should approach this first volume with an openness to digression and debate. The work's value lies not in its plot alone but in the window it opens onto the sectional tensions and moral contradictions of the antebellum United States, filtered through the voice of a self-consciously Virginian author.

I often think how Caruthers’ Southern gentlemen, arriving in New York with their old certainties fraying, found themselves strangers in a familiar land. That same ache of displacement whispers through The Land of Lure: A Story of the Columbia River Basin — Themes and Context, where the river’s pull measures what home truly costs. They share that quiet, patient sorrow of belonging somewhere new.

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