A Romance of Billy-Goat Hill — Text and Context
Edition facts
A Romance of Billy-Goat Hill — Text and Context can be approached with a clearer sense of reading commitment from its source measurements: 85,874 words, 6 hr 14 min estimated reading time, and 11 detected text sections.
The text analysis averages about 14.4 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 “Kentucky -- Fiction,” connecting these edition facts with the source record’s subject description.
Calculated from edition completeness, EPUB availability, text structure and catalogue metadata. Not a user rating.
How this score is calculated
- 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.
Read the Text
as a sharp report, a smothered groan, then a heavy fall
She held it to the flame, and watched it burn to ashes on the hearth
Maria began to cry, and forgot to jolt the Boarder
Mrs. Sequin paused with her hand on the banister
“It was a great wrong I did you, Don; can you forgive me?”
“Tell me quick! How do you know about the shooting?”
It was springtime in Kentucky, gay, irresponsible, Southern springtime, that comes bursting impetuously through highways and byways, heedless of possible frosts and impossible fruitions. A glamour of tender new green enveloped the world, and the air was sweet with the odor of young and growing things. The brown river, streaked with green where the fresher currents of the creeks poured in, circled the base of a long hill that dominated the landscape from every direction.
In spite of the fact that impertinent railroads were beginning to crawl about its feet, and the flotsam and jetsam of the adjacent city were gradually being deposited at its base, it nevertheless reared its granite shoulders proudly and defiantly against the sky.
From the early days when the hill and rich surrounding farm lands had been granted to the old pioneer William Carsey, one generation of Carseys after another had lived in the stately old mansion that now stood like the last remaining fortress against the city's invasion. Sagging cornices and discolored walls had not dispelled the atmosphere of contentment that enveloped the place, an effect heightened by the wide front porch which ran straight across the face of it, like a broad, complacent smile. Some old houses, like old gallants, bear an unmistakable air of past prosperity, of past affairs. Romance has trailed her garments near them and the fragrance lingers.
Thornwood, shabby and neglected, could still afford to drowse in the sunshine and smile over the past. It remembered the time when its hospitality was the boast of the countryside, when its stables held the best string of horses in the State; when its smokehouse, now groaning under a pile of lumber, sheltered shoulders of pork, and sides of bacon, and long lines of juicy, sugar-cured hams; when the cellar quartered battalions of cobwebby bottles that stood at attention on the low hanging shelves. It was a house ripe with experience and mellow with memories, a wise, old, sophisticated house, that had had its day, and enjoyed it, and now, through with ambitions, and through with striving, had settled down to a peaceful old age.
On this particular Sunday afternoon Colonel Bob Carsey, the third of his name, sat on the porch in a weather-beaten mahogany rocker, making himself a mint julep. He was a stout, elderly gentleman, and, like the rocking chair, was weather-beaten, and of a slightly mahogany hue. His features, having long ago given up the struggle against encroaching flesh, were now merely slight indentures, and mild protuberances, with the exception of the eyes which still blazed away defiantly, like twinkling lights at the end of a passage. Across his feet with nose on paws lay a dog, and about him was scattered a profusion of fishing paraphernalia.
The Colonel, carefully crushing the mint between his stubby fingers, stirred it with the sugar at the bottom of his tall glass; then, resting the concoction on the broad arm of the rocker, and without turning his head, lifted his voice in stentorian command:
No answer. He turned his head slightly to the left, in the general direction of the negro cabins whose roofs could be seen through the trees, and sent another summons hurtling through the bushes:
Again he waited, and again there was no response. The Colonel sighed resignedly, and spreading a large bordered handkerchief over his obliterated features, clasped his fat hands with some difficulty about his ample girth, and slept. When he awoke he began exactly where he had left off, only this time turning his head slightly to the right, and sending his command toward the kitchen wing.
A door slammed somewhere in the distance, and presently a shuffling of feet was heard in the hall, and a small, alert old negro presented himself to his master with an air of cheerful conciliation.
The Colonel did not turn his head; he gazed with an air of great injury at the tops of the locust trees, clasping his tumbler as it rested on the arm of the rocker.
“Jimpson,” he began, after the culprit had suffered his silence some minutes.
“Now, Cunnel,” began Jimpson nervously. He had evidently rehearsed this scene in the past.
“Just answer my questions,” insisted the Colonel. “_Is_ this my house?”
“Yas, sir, but Carline, she--”
“And are you my nigger?” persisted the Colonel plaintively.
“Yas, sir; but you see, Carline--”
The first chapter of A Romance of Billy-Goat Hill opens with a rush of seasonal energy: “springtime in Kentucky, gay, irresponsible, Southern springtime, that comes bursting impetuously through highways and byways.” The prose itself mimics that burst—long, flowing sentences that personify the landscape, then pivot to the old Thornwood mansion, which “could still afford to drowse in the sunshine and smile over the past.” Rice’s narrator moves between affectionate mockery and precise observation, noting sagging cornices and a porch “like a broad, complacent smile.” This tonal blend—lyrical yet wry—sets the stage for a story that balances romantic expectation with grounded, often comic, human interaction.
A Voice That Shifts from Pastoral to Punchy
Rice’s narrative voice is anything but uniform. In the opening pages, it lingers on the hill’s “granite shoulders” and the mansion’s “wise, old, sophisticated” character, using personification to create a sense of place that feels almost alive. But when characters speak, the prose tightens. Dialogue is clipped and colloquial: “Bravo, Miss Lady!” and “Lots of things!” The contrast is deliberate—the narrator can wax poetic about a smokehouse full of hams, then cut to a character saying “What’s that confounded racket in the street?” This switch in register keeps the reader alert, moving from atmospheric description to brisk, often witty exchange. The effect is a narrative that feels both spacious and immediate, as if the story itself is learning when to slow down and when to sprint.
Pacing Through Action: The Mule Scene as a Microcosm
A key passage demonstrates Rice’s control of pace. When a balking mule stops traffic, the scene unfolds in quick, physical steps: a girl “darted out of the gate and into the street as if she had been shot from a cannon.” The verbs are active—seized, demanded, succeeded—and the dialogue is terse. The mule’s resistance is described with comic gravity: “the dogged heroism of one who has resolved to die rather than surrender.” Then, with the mud trick, the tension breaks. The mule’s “fore feet relaxed, his eye lost its fire.” The pacing mirrors the mule’s shift from stubborn stasis to curious movement. This episode, early in the novel, serves as a miniature of the larger narrative rhythm: moments of standoff or reflection punctuated by sudden, decisive action.
Recurring Details: Mud, Mirrors, and the Weight of Observation
Rice plants small, telling details that accumulate meaning. The mud used to quiet the mule reappears as a motif of practical cunning—Miss Lady knows “a mule has room in his head for only one thought at a time.” Later, Gerald pauses at “the hall mirror, inspecting his face with minute solicitude,” a gesture that hints at vanity and self-awareness. The narrator also notes that Miss Lady is “getting thinner and paler and prettier every day,” a physical detail that doubles as a measure of her internal strain. These recurring observations—mud, mirrors, physical change—anchor the story in tangible specifics. They are not symbolic in a heavy-handed way; rather, they function as quiet signals of character and situation, rewarding attentive reading without demanding interpretation.
Readers attuned to shifts in tempo will find Rice’s novel a study in controlled variation: the long, indulgent descriptions of place give way to rapid-fire dialogue, and moments of stillness are broken by sudden physical comedy. Pay attention to the way objects—a mule’s mouth, a mirror, a handkerchief—carry narrative weight. The excerpts suggest a writer who trusts her readers to notice these patterns without explicit signposting.
Miss Lady’s stubborn mule on that Kentucky hillside always reminds me of another young soul learning to find his footing—a boy in a raw Virginia settlement, equally determined. Both stories carry that quiet ache of growing into a place you didn’t choose. I’ve shelved them beside each other for years, like old friends. Richard of Jamestown : a Story of the Virginia Colony — Inside the Classic holds that same patient grit, and I smile each time my hand passes over their spines.
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