The Land of Lure: A Story of the Columbia River Basin — Themes and Context
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For The Land of Lure: A Story of the Columbia River Basin — Themes and Context, the stored edition analysis reports 64,439 words, 4 hr 41 min estimated reading time, and 7 detected text sections.
The text analysis averages about 29.7 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 “Frontier and pioneer life -- Fiction,” connecting these edition facts with the source record’s subject description.
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Read the Text
The early March wind was blowing with its usual force, and white wisps of clouds were scurrying across the barren waste that lay between the rough canyon, through which the raging torrents of the Columbia River forced its way to the Pacific Ocean, and the range of hills thirty miles farther south. The clouds seemed to mount higher, and take on greater speed, while crossing this scene of desolation, and graveyard of buried hopes, as if anxious to leave behind them the glare of the desert sands, and the appealing eyes of the few unfortunate homesteaders, who were compelled to remain on their claims until they had complied with the demands made by a beneficient Government before they could become sole owners of the spot upon which many of them were now making their last efforts for a home of their own.
The ever present sage brush and tufts of scant bunch grass, dwaft by the ages of drouth and the pitiless glare of the hot sun's rays, bowed before each gust of the sand ladened wind and emitted weird and unearthly sounds, as if the deported denizens of the desert were warning the white man against the hopeless task of trying to wrest from the jack rabbit and coyote the haunts over which they had held undisputed sway for ages.
Deserted shacks, formerly the homes of earlier settlers, broken fences posts, with tangled strands of barbed wire, each told their story of a struggle for existence, defeat and departure, more pitiful than all the stories of Indian massacres ever written. Here was a battle field, the opposing forces being poverty, courage and determination, arrayed against the elements.
Reinforcements, in the way of hardy homesteaders, were being constantly drawn into this unequal contest, armed with no other weapon than the ever abiding hope that nature would so alter her laws as to conform to this particular locality, lured by the sound of those magic words: "A home of your own," were ready to come into this deserted territory and take up the legacies of blasted hopes, equipped with new ideas, and seemingly fortified by the unfortunate experiences of others who had made the trial, failed and gone their way to try and forget, if possible, the ordeal through which they had passed. Trusting that the touch of the magic wand, in the form of irrigation, would cause the crystal water to flow, and convert the region into a garden of untold wealth.
The winter preceding the March, during which our story opens, had been an exceptionally hard one in the Central and Middle Western states, floods and other unfortunate conditions having almost completely destroyed the crops and thereby entailing a loss that was keenly felt throughout the region, and causing a spirit of unrest among the poorer element; a desire for a chance to throw off the yoke of dependents, as wage earners, and to seek fields of greater opportunities. The newspapers and magazines were filled with articles lauding the "Back to the Soil" movement, and the country was flooded with pamphlets and folders, in which glowing descriptions of the opportunities afforded the homeseekers in the far Northwest was given.
The railroads whose lines reached this vast territory were making special rates to prospective home builders, and daily homeseekers' excursions were being run over these routes. Trains loaded with eager tourists, bound for the land of their dreams, the mecca of their hopes, the happy land of somewhere; firmly believing that they, at least, had within their reach the goal for which they, and many of their fathers, had striven for years. To some, and in fact to a great many, this dream was to become a reality, and to those whose hardy constitution and indomitable determination has made such a transformation possible, is due the development of an Empire in the far Northwest.
Elliott Smith's The Land of Lure opens with a wind-scoured desert where "white wisps of clouds" race over a "graveyard of buried hopes." The narrator's voice is immediately attuned to the physical and emotional weight of the landscape, personifying the sagebrush and bunch grass as emitting "weird and unearthly sounds" that warn against the homesteader's task. This early passage establishes a rhythm of harsh natural forces and human endurance that persists throughout the excerpts.
The Desert as a Character
The opening chapter treats the Columbia River Basin desert not merely as setting but as an active presence. Smith writes of "the pitiless rays of the desert sun" and the "sand ladened wind" that shapes both the land and the lives of those who try to farm it. The narrator describes abandoned shacks and broken fence posts as telling "their story of a struggle for existence, defeat and departure, more pitiful than all the stories of Indian massacres ever written." This anthropomorphizing of the landscape—the desert as a battlefield where "poverty, courage and determination" fight against "the elements"—gives the environment a narrative agency that rivals the human characters. The language is consistently stark, with phrases like "dwaft by the ages of drouth" and "glare of the desert sands" reinforcing the sense of an unforgiving world.
Shifts in Pace: From Desolation to Cultivation
As the narrative moves from the opening desolation to Travis Gully's homestead, the pace changes markedly. The early, almost lyrical descriptions of wind and sand give way to a more methodical, reportorial tone when detailing Gully's dry-farming experiments. Sentences become shorter and more factual: "He had decided to introduce some of the dry land farming methods that had been successfully tried out in other sections of the Northwest." The rhythm slows as Smith catalogs Gully's techniques—imbedding cans at plant roots, saving waste water—and the rewards: "His field of wheat was by far the best in the neighborhood." This shift mirrors the homesteader's transition from struggle to tentative success, though the underlying tension with the desert remains. The prose picks up again with the arrival of summer, when "fitful gusts of wind started the restless sand, but too late to harm the grain."
Voice and the Collective Homesteader Experience
Smith's narrator often speaks from a collective perspective, using "they" and "their" to fold individual characters into a broader community of homesteaders. The opening describes "the few unfortunate homesteaders, who were compelled to remain on their claims" and later notes that "the hardships of the past winter were almost forgotten and were seldom referred to." This communal voice creates a sense of shared fate, reinforced by details like the children's "brightly shining dinner pails" flashing "heliographic warning" across the plain. The narrator also steps back to comment on the larger pattern: "Reinforcements, in the way of hardy homesteaders, were being constantly drawn into this unequal contest." This technique gives the story an almost documentary quality, balancing individual vignettes with a wider view of settlement on the frontier.
Readers attentive to shifts in narrative pace will notice how Smith alternates between sweeping, almost biblical descriptions of the desert and close, practical accounts of daily labor. The excerpts suggest a novel that finds its drama not in sudden events but in the slow, uncertain process of making a home in a resistant land. The language rewards careful reading for its precise observation of both the natural world and the human effort to endure within it.
I keep thinking about how the Columbia River Basin’s quiet desolation stayed with me, the way that patience itself becomes a kind of landscape. It reminded me of another book, A Duel — Themes and Context, where the stillness between two people feels just as vast. Some stories don’t leave; they just settle somewhere soft inside you.
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