The Desert and the Sown — A Closer Reading

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Foote, Mary Hallock, 1847-1938 Project Gutenberg 2005 Not confirmed
New York (State) -- Fiction; West (U.S.) -- Fiction Readers of public-domain and historical texts
Project Gutenberg digital edition en

Edition facts

Words 65,466
Reading time 285 min
Text sections 8

The catalog record for The Desert and the Sown — A Closer Reading provides practical reading context through 65,466 words, 4 hr 45 min estimated reading time, and 8 detected text sections.

The text analysis averages about 13.2 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 “New York (State) -- Fiction,” connecting these edition facts with the source record’s subject description.

Mary Hallock Foote's novel contrasts Eastern domesticity with Western frontier life through the tense courtship of Moya Middleton and Paul, a veteran haunted by a comrade's disappearance. The opening scene's crackling hearth and the couple's strained dialogue reveal deeper conflicts of duty, passion, and social expectation.
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Editorial Edition Score 4.7/5

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  • Description quality20 pts
  • Title & short description10 pts
  • Source metadata20 pts
  • Text length15 pts
  • Chapters / structure15 pts
  • EPUB file integrity20 pts

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a was a willing, nay, a reckless hostage, did not lessen her father's awe of the situation.

Mrs. Bogardus, according to her wont at this hour, was composedly doing nothing. The colonel could not make his retreat under cover of her real or feigned absorption in any of the small scattering pursuits which distract the female mind. When she read she read--she never “looked at books.” When she sewed she sewed--presumably, but no one ever saw her do it. Her mind was economic and practical, and she saved it whole, like many men of force, for whatever she deemed her best paying sphere of action.

It was a silence that crackled with heat! The colonel, wrathfully perspiring in the glow of that impenitent stick, frowned at it like an inquisitor. Presently Mrs. Bogardus looked up, and her expression softened as she saw the energetic despair upon his face.

“Colonel, don't you always smoke after dinner?”

“That is my bad habit, madam. I belong to the generation that smokes--after dinner and most other times--more than is good for us.” Colonel Middleton belonged also to the generation that can carry a sentence through to the finish in handsome style, and he did it with a suave Virginian accent as easy as his seat in the saddle. Mrs. Bogardus always gave him her respectful attention during his best performances, though she was a woman of short sentences herself.

“Don't you smoke in this room sometimes?” she asked, with a barely perceptible sniff the merest contraction of her housewifely nostrils.

“Ah--h! Those rascally curtains and cushions! You ladies--women, I should say--Moya won't let me say ladies--you bolster us up with comforts on purpose to betray us!”

“You can say 'ladies' to me,” smiled the very handsome one before him. “That's the generation _I_ belong to.”

The colonel bowed playfully. “Well, you know, I don't detect myself, but there's no doubt I have infected the premises.”

“Open fires are good ventilators. I wish you would smoke now. If you don't, I shall have to go away, and I'm exceedingly comfortable.”

“You are exceedingly charming to say so--on top of that last stick, too!” The colonel had Irish as well as Virginian progenitors. “Well,” he sighed, proceeding to make himself conditionally happy, “Moya will never forgive me! We spoil each other shamefully when we're alone, but of course we try to jack each other up when company comes. It's a great comfort to have some one to spoil, isn't it, now? I needn't ask which it is in your family!”

“The spoiled one?” Mrs. Bogardus smiled rather coldly. “A woman we had for governess, when Christine was a little thing, used to say: 'That child is the stuff that tyrants are made of!' Tyrants are made by the will of their subjects, don't you think, generally speaking?”

“Well, you couldn't have made a tyrant of your son, Mrs. Bogardus. He's the Universal Spoiler! He'll ruin my striker, Jephson. I shall have to send the fellow back to the ranks. I don't know how you keep a servant good for anything with Paul around.”

“Paul thinks he doesn't like to be waited on,” Paul's mother observed shrewdly. “He says that only invalids, old people, and children have any claim on the personal service of others.”

“By George! I found him blacking his own boots!”

Mrs. Bogardus laughed.

“But I'm paying a man to do it for him. It upsets my contract with that other fellow for Paul to do his work. We have a claim on what we pay for in this world.”

“I suppose we have. But Paul thinks that nothing can pay the price of those artificial relations between man and man. I think that's the way he puts it.”

“Good Heavens! Has the boy read history? It's a relation that began when the world was made, and will last while men are in it.”

“I am not defending Paul's ideas, Colonel. I have a great sympathy with tyrants myself. You must talk to him. He will amuse you.”

“My word! It's a ticklish kind of amusement when _we_ get talking. Why, the boy wants to turn the poor old world upside down--make us all stand on our heads to give our feet a rest. Now, I respect my feet,”--the colonel drew them in a little as the lady's eyes involuntarily took the direction of his allusion,--“I take the best care I can of them; but I propose to keep my head, such as it is, on top, till I go under altogether. These young philanthropists! They assume that the Hands and the Feet of the world, the class that serves in that capacity, have got the same nerves as the Brain.”

The novel opens with a domestic scene that crackles with unspoken tension: Colonel Middleton, trapped by a blazing log he misjudged, faces his future in-law Mrs. Bogardus in a silence that 'crackled with heat.' The colonel's helpless craving for a cigar and his daughter Moya's reckless escape into the night air establish a household where manners mask deeper conflicts. Foote's prose lingers on physical details—the 'pitchy' log, the 'silks' filling the settle corner—to dramatize the friction between Eastern propriety and Western bluntness.

This tension sharpens in the lovers' reunion. Paul, returned from a harrowing expedition, speaks of a missing comrade with a 'ghostly' intensity that Moya calls 'morbid.' Their dialogue, full of self-correction and blushes, reveals a couple struggling to reconcile past intimacy with present estrangement. The novel's title hints at a broader opposition: the cultivated 'sown' versus the untamed 'desert,' a divide that shapes every relationship.

A Hearth That Betrays

The opening chapter, 'A Council of the Elders,' uses the hearth as a stage for social performance. Colonel Middleton's miscalculated log—'only one, but that had proved a pitchy one'—turns the room into a furnace, trapping him with Mrs. Bogardus. The fire's 'bellowing' flame mirrors the colonel's internal frustration: he is 'hemmed in on every side,' deserted by his daughter, mocked by his own handiwork. Foote describes Mrs. Bogardus as 'composedly doing nothing,' her mind 'economic and practical,' saved whole for her 'best paying sphere of action.' This portrait of controlled efficiency contrasts sharply with the colonel's visible discomfort. The scene establishes a pattern: domestic spaces in this novel are not refuges but arenas where power, duty, and desire collide. The hearth, meant to warm, becomes an instrument of exposure, forcing characters to reveal what they would rather hide.

The Weight of Unspoken Words

Paul and Moya's reunion in the second excerpt is a masterclass in indirection. Their dialogue circles around a missing man—a packer who 'would have died there alone'—but the real subject is their own fractured bond. Paul's confession that 'the sight of you confuses me' and his fear of betraying 'helpless passion' reveal a man torn between worship and desire. Moya, in turn, thinks, 'Is this all it is going to mean—his coming home—our being together?' Their exchange is punctuated by blushes, gasps, and self-corrections: Moya calls Paul 'morbid,' he calls her beauty 'a physical fact.' Foote uses these verbal feints to suggest a deeper rift. The couple's inability to speak directly about the packer—or themselves—hints at a trauma that words cannot bridge. The chapter titles ('The Initial Love,' 'A Hunter's Diary') promise exploration of interior landscapes as harsh as any desert.

Frontier Duty vs. Domestic Ties

The novel's central conflict emerges from Paul's sense of obligation to a man he calls 'nobody of ours.' When he proposes to search for the missing packer, Moya initially supports him—'Yes; oh, yes!'—but the conversation quickly turns to social cost: 'the comment, even if they called it a slight to you.' Paul's question—'Then you could bear it, dear?'—exposes the fault line between public duty and private loyalty. Foote, writing from experience as a woman who moved from the East to the frontier, embeds this tension in the novel's structure. The catalog subjects (New York State and the West) are not mere settings but opposing value systems. The 'desert' of the title is not just a landscape but a state of moral exposure, where a man's word binds him beyond social convenience. The 'sown' represents cultivated society, with its comforts and constraints. Paul's quest, if he undertakes it, will test which world he truly belongs to.

Readers attentive to Foote's use of physical detail—the log, the blush, the 'soft skirts' trailing across a carpet—will find a novelist who renders inner conflict through external precision. The excerpts offer no resolution, only a deepening of the central dilemma: how to reconcile the claims of the past with the demands of the present. The novel's chapter titles, from 'A Council of the Elders' to 'Peace to This House,' suggest a journey toward some form of settlement, but the path remains uncertain.

That rainy afternoon, the hearth in Foote’s opening scene seemed to mock the damp outside my own window, yet the tension between Moya and Paul lingered longer than the storm. Flipping pages absently afterward, I landed on The Caxtons: A Family Picture — Volume 07 — A Reader’s Guide, and recognized that same quiet ache of duty shadowing love, a gentler echo of the desert’s heat.

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