Blindfold — Background and Themes

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Johns, Orrick, 1887-1946 Project Gutenberg 2022 Not confirmed
Illegitimate children -- Fiction; Man-woman relationships -- Fiction; Middle West -- Fiction Readers of public-domain and historical texts
Project Gutenberg digital edition en

Edition facts

Words 62,408
Reading time 272 min
Text sections 28

Before opening Blindfold — Background and Themes, the edition data offers a quick orientation: 62,408 words, 4 hr 32 min estimated reading time, and 28 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 “Illegitimate children -- Fiction,” connecting these edition facts with the source record’s subject description.

Orrick Johns's 1923 novel follows Ellen Sydney and later Moira through domestic routines, courtship, and family tensions in the American Midwest. The narrative shifts between close third-person observation and dialogue-driven scenes, with a pace that alternates between leisurely description and rapid exchanges.
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Editorial Edition Score 4.9/5

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hool was just out and as she worked Bennet banged into the hall, threw down his books and rushed forth again with a shout to join his comrades up the street. They were building a “switch-back railway” from the second story rear window of a neighbour’s house. She could just glimpse the murderous rickety scaffolding of it through the small leaves of the alley poplars.

Fastening up the last of the tendrils to the wire, Ellen heard Mrs. Osprey’s shrill voice calling from quite half a block away to one of the Osprey boys. She could not restrain a smile at the familiar summons.

“Poor woman,” thought she, “they do worry her.” But she would no more have thought of pitying Mrs. Osprey actually, than of feeling sorry for Her Majesty Queen Alexandra, whom many years in Canada had taught her to believe next to the angels themselves.

As she turned from the garden she heard a still more familiar voice and Potter Osprey came through the gate.

“Hello, Ellen, mind my coming over?”

“Oh, no! I’ve got to go in, though. Come in the kitchen, I’m not very busy.” She had in fact three easy hours before her, with dinner practically prepared and a little ironing to do before she put the dishes in the stove. Ironing was quite pleasant if you had some one to talk to while you did it.

“Vacation’s only six weeks off now,” Potter said as they walked up to the house. “Ain’t that great! I hate school anyway.”

“Ah, Potter, when you are doing so well at it! Milly told me about the debates. She said you were fine in them.”

The monthly school debates were a point of pride with him, and he betrayed a momentary embarrassment. He had quite lost himself in the vainglory of winning two of them in succession, or of being on the winning side both times. He had regretted that while they were in progress, especially while he was on his feet, everybody he knew had not been in the audience. So many people were not. The thing that he feared in talking about them to Ellen was that he would reveal his satisfaction. So Milly had been gossiping about them outside? That pleased him. Milly was in the class below him, which sat in the same room.

He recovered his composure and spoke as though of an ordinary matter.

“Pshaw, the debates ain’t really school. They’re different.... But look, Ellen, all the lots around here are almost forests of weeds in the summer. It’s great! You can hide in them, and everything. They get over six feet high. And there’s woods only a mile out west there, to swim and camp in. If you have time we can walk there some day.”

Ellen’s face brightened at the prospect.

“But it gets hot here in the summer,” he went on, “awful hot--not like Winnipeg. You won’t like that.”

“Oh, I’ve lived in N’Orleans. It’s lots hotter there.”

“Yes, that’s so. That’s way down south, ain’t it? I always think of you coming from Winnipeg. Bennet talks about it all the time. He’s a Britisher all right.”

Ellen replied warmly.

“Well, he shouldn’t be, even if they were born in Canada. His father says he’s going to stand by this country now, because it gives them a good living and always has. He’s going to make them all citizens.”

Potter laughed. He was sitting perched up on the kitchen table, his small feet dangling beneath it and his cap in his hand.

“I told Bennet we licked England twice and he got hot under the collar. He’s funny. Did you like it better up north?”

“Yes, I guess I did. We used to have good times in Winnipeg. The fellows always in the house, my! It’ll be the same here after a while. Those two girls get a crowd coming pretty quick. Only we’ll never have snow like in Winnipeg. I did love the snow, such sledding and skating!”

“That’s the ticket!” agreed Potter, and added with some disgust, “We hardly had one good skate last winter--soon as it’d freeze it’d thaw! But you should have seen the first winter we were here. Almost two months of ice! This house wasn’t here then--hardly any in this row were, and gee, the way the wind used to blow! It changes around here fast. Kirk broke his arm falling through these joistses.”

Potter swung down from the table and stood in front of the ironing board, smiling up at the tall woman, his hands in his pockets.

The first chapter of Blindfold opens with Ellen Sydney tending sweet peas in her garden, a scene that immediately establishes the novel's attention to domestic detail and the rhythms of daily life. The narrative voice moves fluidly between external description and interior thought, as when Ellen reflects on Mrs. Osprey's shouting with a comparison to Queen Alexandra. This blend of the mundane and the subtly ironic sets a tone that persists throughout the excerpts.

The prose often shifts pace abruptly: a quiet moment of gardening gives way to Bennet's noisy entrance, then to a conversation with Potter Osprey that reveals his pride in school debates. These transitions mirror the novel's broader structure, where reflective passages alternate with brisk dialogue.

Voice and Point of View

The narrative voice in Blindfold is a close third person that frequently dips into characters' unspoken thoughts. Ellen's observation that she would no more pity Mrs. Osprey than feel sorry for Queen Alexandra reveals a wry, class-conscious perspective without direct authorial comment. Later, when Potter Osprey worries about revealing his satisfaction over debate victories, the narration stays within his limited awareness: “The thing that he feared in talking about them to Ellen was that he would reveal his satisfaction.” This technique creates intimacy while maintaining a slight ironic distance.

The voice also varies between characters. In the later excerpt featuring Moira and Mathilda, the dialogue carries more of the emotional weight, and the narrator steps back to let their exchanges—such as Moira's quip about Uncle Sterling being “delightfully biblical”—convey personality and tension. The prose becomes more clipped and modern in these scenes, contrasting with the fuller descriptions of the opening.

Pace and Structural Rhythm

The novel's pace is not uniform. Early passages linger on sensory details: the “soft dark earth,” the “murderous rickety scaffolding” of the boys' railway, the sound of Mrs. Osprey's voice from half a block away. These observations slow the narrative, inviting the reader into the physical world of Meadowburn. But the pace quickens sharply in dialogue, especially in the later scene between Moira and Mathilda, where lines tumble out without descriptive interruption.

This alternation creates a rhythm that mirrors the characters' inner lives. Ellen's leisurely gardening is interrupted by Potter's arrival; Moira's affectionate teasing gives way to a serious discussion of marriage and Uncle Sterling. The shifts are not jarring but purposeful, suggesting a world where reflection and action coexist. The excerpts do not reveal how this rhythm sustains across the full novel, but the pattern is consistent in the available text.

Recurring Details and Thematic Threads

Several details recur across the excerpts, hinting at broader concerns. Gardens and cultivation appear early: Ellen's sweet peas, the “forests of weeds” Potter mentions, the earth brought from a distance to enrich clay. These images of tending and growth resonate with later conversations about marriage and planning a future. Moira's “glorious programme” for study in New York and Paris, and Mathilda's wish to see “one completely happy person,” echo the earlier attention to nurturing—whether of plants or relationships.

Another thread is the tension between public performance and private feeling. Potter's debates, Moira's denial of gossip about Uncle Sterling, and Mathilda's ability to “say things the implications of which were unpleasant” all point to a world where appearances are managed. The excerpts do not resolve these threads, but they establish a consistent interest in how characters present themselves versus what they feel.

Readers approaching Blindfold should attend to the shifts in narrative distance and tempo. The novel rewards attention to small gestures—a pat on a bed, a glance before a reply—that carry meaning beyond their surface. The excerpts suggest a work more concerned with the texture of relationships than with plot mechanics, and the voice, at once sympathetic and detached, invites careful reading of what is said and what is left unsaid.

Reading Johns’s Blindfold, I kept circling back to that quiet ache of a child watching adults decide things. Ellen’s silences felt so familiar. That same hollowness, I think, lingers in Their Child — Key Ideas to Explore, though there it’s less a murmur and more a shape the whole household orbits around. Funny how two books, forty years apart, can hold the same small, unspoken sadness.

Madison Harris
1 month ago

Benjamin Hill
1 month ago

Theodore Hill
1 month ago

4.5
4.5 out of 5 (3 User reviews )

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    Tristan Rodriguez - 1 month ago
    Blindfold tries to be clever but ends up being frustrating. The twists feel forced, and the protagonist's decisions are so illogical that I couldn't stay invested. The writing is competent but uninspired. There's little here that hasn't been done better elsewhere. I was hoping for a gripping page-turner, but instead, I got a predictable mess.

  • ...
    David Lopez - 3 weeks ago
    Blindfold is an interesting take on a classic thriller setup. The tension is well-maintained for the most part, and the main character is relatable. However, some of the plot points stretch believability, and the supporting characters aren't as well-developed. It's a decent read for a rainy afternoon, but not a standout in the genre.

  • ...
    Christian George - 3 weeks ago
    Blindfold is a tense psychological thriller that grabbed me from the first page and never let go. The premise is simple yet brilliantly executed, with a protagonist who is as sympathetic as she is flawed. The author weaves a claustrophobic atmosphere, and the twists are both shocking and earned. I was genuinely blindsided by the ending, something rare in this genre. Highly recommended for thrill-seeking readers.


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