Ruth of the U. S. A. — Story, Setting & Ideas

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Balmer, Edwin, 1883-1959, Betts, Harold Harrington, 1881-1951 [Illustrator] Project Gutenberg 2022 Not confirmed
World War, 1914-1918 -- Fiction; Spy stories Readers of public-domain and historical texts
Project Gutenberg digital edition en

Edition facts

Words 102,645
Reading time 447 min
Text sections 27

The source record for Ruth of the U. S. A. — Story, Setting & Ideas measures this digital text at 102,645 words, 7 hr 27 min estimated reading time, and 27 detected text sections.

The text analysis averages about 20.0 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 “World War, 1914-1918 -- Fiction,” connecting these edition facts with the source record’s subject description.

Edwin Balmer's 1919 spy novel follows American Cynthia 'Ruth' through WWI France, shifting from a civilian relief worker to an operative. The narrative voice oscillates between sweeping war bulletins and intimate character moments, with pacing that mirrors the uncertainty of 1918.
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Editorial Edition Score 4.9/5

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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

the sound of the music, and the roses, and palms, and Gerry Hull would vanish

Gerry was there at the door of her cell; another man was with him; a friend

1. As printed, this book omitted words in sentences in about eight places. This edition of the book retains those sentences as printed to accurately represent the original publication.

2. Otherwise, misspelled words and printer errors have been corrected. Where multiple spellings occur, majority use has been employed.

3. Italics in the original are shown bracketed by undersocres in this publication, _like this_.

CHAPTER I: A BEGGAR AND A PASSPORT

It was the day for great destinies. Germany was starving; yet German armies, stronger and better prepared than ever before, were about to annihilate the British and the French. Austria, crumbling, was secretly suing for peace; yet Austria was awaiting only the melting of snow in the mountain passes before striking for Venice and Padua. Russia was reorganizing to fight again on the side of the allies; Russia, prostrate, had become a mere reservoir of manpower for the Hohenzollerns. The U-boats were beaten; the U-boats were sweeping the seas. America had half a million men in France; America had only “symbolical battalions” parading in Paris.

A thousand lies balanced a thousand denials; the pointer of credulity swung toward the lies again; and so it swung and swung with everything uncertain but the one fact which seemed, on this day, perfectly plain--American effort had collapsed. America not only had failed to aid her allies during the nine months since she had entered the war; she seemed to have ceased even to care for herself. Complete proof of this was that for five days now industries had been shut down, offices were empty, furnaces cold.

Upon that particular Tuesday morning, the fifth day of this halt, a girl named Ruth Alden awoke in an underheated room at an Ontario Street boarding house--awoke, merely one of the millions of the inconsiderable in Chicago as yet forbidden any extraordinary transaction either to her credit or to her debit in the mighty accounts of the world war. If it be true that tremendous fates approaching cast their shadows before, she was unconscious of such shadows as she arose that morning. To be sure, she reminded herself when she was dressing that this was the day that Gerry Hull was arriving home from France; and she thought about him a good deal; but this was only as thousands of other romance-starved girls of twenty-two or thereabouts, who also were getting up by gaslight in underheated rooms at that January dawn, were thinking about Gerry Hull. That was, Ruth would like, if she could, to welcome him home to his own people and to thank him that day, in the name of his city and of his country, for what he had done. But this was to her then merely a wild, unrealizable fantasy.

What was actual and immediately before her was that Mr. Sam Hilton--the younger of the Hilton brothers, for whom she was office manager--had a real estate deal on at his office. He was to be there at eight o’clock, whether the office was heated or not, and she also was to be there to draw deeds and releases and so on; for someone named Cady who was over draft age, but had himself accepted by an engineer regiment, was sacrificing a fine factory property for a quick sale and Sam Hilton, who was in class one but still hoped somehow to avoid being called, was snapping up the bargain.

So Ruth hurried downtown much as usual upon that cold morning; and she felt only a little more conscious contempt for Sam Hilton--and for herself--as she sat beside him from eight until after nine, with her great coat on and with her hands pulled up in her sleeves to keep them warm while he schemed and reschemed to make a certain feature of his deal with the patriotic Cady more favorable to himself. He had tossed the morning paper upon his desk in front of him with the columns folded up which displayed Gerry Hull’s picture in his uniform and which told about Gerry Hull’s arriving that morning and about his service in France. Thus Ruth knew that Sam Hilton had been reading about Lieutenant Hull also; and, indeed, Hilton referred to him when he had made the last correction upon the contract and was in good humor and ready to put business aside for a few minutes and be personal.

“Gerry Hull’s come home today from France, I see. Some fighter, that boy!” he exclaimed with admiration. “Ain’t he?”

The first chapter of Ruth of the U. S. A. opens not with a character but with a barrage of contradictory headlines: “Germany was starving; yet German armies… were about to annihilate the British and the French.” This staccato of opposing claims establishes a narrative voice that thrives on uncertainty, treating the war as a contest of information as much as arms. The prose itself becomes a kind of propaganda—a thousand lies balanced against a thousand denials—and the reader is dropped into the same fog of war that envelops the characters.

From this global perspective, the novel quickly narrows to a single woman, Ruth, whose initial role as a relief driver in France gradually gives way to more clandestine work. The shift in scale—from the fate of continents to the twig of an old woman’s tree—is the book’s central structural device, and it is handled with a deliberate, sometimes jarring, change of pace.

The Voice of the Bulletin

The novel’s opening paragraphs read like a wire-service dispatch: short, declarative sentences, each contradicting the last. “The U-boats were beaten; the U-boats were sweeping the seas.” This rhetorical pattern—assertion followed by reversal—creates a rhythm of instability that persists throughout. The narrator rarely settles on a single truth; instead, it reports the swing of credulity. This is not the voice of an omniscient historian but of a contemporary observer, immersed in the daily churn of war news.

Later, when the action shifts to the road to Montdidier, the prose becomes more sensory and immediate: the grinding motor, the French spoken to passengers, the physical act of leaping down from a truck. The contrast is deliberate. The bulletin voice conveys the macro-level chaos; the intimate voice conveys the micro-level response. Together, they produce a narrative that feels both panoramic and personal, though the two registers do not always blend smoothly.

Pacing Through the Wreckage

Balmer controls tempo by alternating between compressed summary and extended scene. The early chapters race through the first months of American involvement in a few paragraphs; later, a single drive from Mirevaux to a flying field occupies several pages of dialogue and observation. The effect is that the novel’s pace mirrors the protagonist’s own shifting relationship to time: in the relief work, hours blur; in the spy work, minutes matter.

One notable deceleration occurs when Ruth stops her truck to cool the motor. The pause allows for a quiet exchange about Grand’mère Bergues’ tree—a green twig saved from a tree the Germans had declared destroyed. This moment of stillness, set against the larger retreat, functions as a thematic counterweight. The narrative lingers on the twig, on the old woman’s stroke, on the act of carrying her. Then, abruptly, the car restarts and the pace quickens again. The reader is left with the sense that these pauses are not rest but preparation.

The Unspoken Shift in Rôle

The excerpts show Ruth moving from a driver who “got so wrapt up in the work at Mirevaux” to someone who, by the end of the sample, is headed for Montdidier or Amiens with undefined “other tasks.” The narrative does not announce this transformation; it registers it through Gerry’s perception. He notices “a queer, pulling sensation” when he watches her drive, and he contrasts her with Agnes Ertyle, who could cry over wounded boys but could not have told a story “without any emotion at all.”

The change in Ruth’s role is mirrored by a change in the narrator’s focus. Early scenes emphasize her competence with the truck, her ability to calm passengers, her practical problem-solving. Later, the narrator withholds her intentions: “she had formed determinations which would take her as soon as possible to her other tasks.” The reader, like Gerry, is left to infer. This reticence is a deliberate narrative choice—a way of keeping the spy’s work hidden even from the reader, preserving the mystery of what Ruth will become.

Readers attentive to shifts in register will find that Ruth of the U. S. A. rewards close attention to its transitions: from the global to the local, from the declarative to the hesitant, from action to stillness. The novel’s voice is not uniform, and its pace is not steady. That unevenness is not a flaw but a feature—a formal echo of a world where “everything uncertain” was the only certainty. Approach the text as a document of its moment, and let the contradictions stand.

Reading Ruth of the U. S. A., I kept thinking about how some stories become a quiet place to wander, the way the Rockies felt when I first opened In the Rockies with Kit Carson — Context and Discussion. Both carry that sense of being far from safety, yet oddly at home in the open.

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  • ...
    James Smith - 1 month ago
    While the premise is promising, the execution falls flat. The characters are somewhat flat and the plot meanders without a clear direction. The historical context isn't well-integrated, leaving the story feeling disjointed. There are better options in this genre.

  • ...
    Kelly Dennis - 1 month ago
    This novel offers a fascinating glimpse into American life and identity through the eyes of Ruth. The prose is vivid and the character development is compelling, making it a delightful read for anyone interested in historical fiction. The narrative beautifully captures the spirit of the era.

  • ...
    Gregory Rios - 3 weeks ago
    The story has its charms, particularly in its depiction of the American landscape and social customs. However, the pacing can be uneven, and some plot points feel predictable. Still, it's an enjoyable read for those who appreciate classic American literature.


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