Corduroy — Story, Setting & Ideas
Edition facts
The catalog record for Corduroy — Story, Setting & Ideas provides practical reading context through 61,385 words, 4 hr 27 min estimated reading time, and 25 detected text sections.
The text analysis averages about 19.6 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 “Young women -- 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
to relatives in Los Angeles or San Francisco and asked them not to come to her. This first black Christmas (the one a year earlier had been vibrant with hope) she must be allowed to spend alone, in the luxury of uninterrupted and unconsoled grief. Even the servants--Estrada and his men, old Manuela, the housekeeper, Ling, the moon-faced Chinese cook--were banished to San Luis Obispo on the morning of the twenty-fourth, not to return until the twenty-sixth, but her gift to herself of solitude had been snatched away from her. Dos Pozos was five miles off the highway, but in good weather motorists often took the dirt road for a short cut. This year Virginia had neglected to have it kept up; the bridge, half a mile from the house, was a frail and ancient structure. Aleck had meant to replace it with a permanent one of concrete, and Estrada had begged her to carry out the young _señor’s_ plan, but she would not. Later, perhaps; for the present, she was thankful for anything which made for isolation.
And then, ironically enough, the very thing which was to have kept the world away, brought it to her. It rained in torrents, lavish, riotous California rain; the road sank down into a batter of soft mud; the bridge whined in the storm; at seven o’clock on Christmas Eve four machines and ten persons, wailing children among them, were stranded and helpless. The telephone line was down; the _vaqueros_ spending their holiday in town; and tradition was rigid; no one, gentle or simple, ever lifted the latch of Dos Pozos in vain. Grudgingly, with unadorned civility, Virginia had taken them into the old _adobe_ ranch house and prepared to give them camp fare, for there was no way in which she could summon her servants.
It immediately appeared, however, that her servants did not require summoning; they were already there. The good creatures had merely driven round the turn of the road in the morning, waited until she had ridden off in the rain, and crept back again, hiding themselves discreetly in their quarters. Their idea had been to feed her as the ravens fed the prophet and to keep out of her sight, for they were on intimate terms with her temper and her tongue. When the house party enforced descended upon their mistress they had come boldly forth, rather giving themselves airs; what--they wanted respectfully to know--would she have done without them?
So it fell out that two brisk and cheerful school-teachers and a forlorn widower and his shabby children and a couple of Stanford students and a personage in a limousine made philosophically merry beneath the roof which had fully intended to cover nothing but desolate grief and decent silence, and Ling plied happily between his table and his glowing range, his queue snapping smartly out behind him, and old Manuela built fires and made up beds in the guest rooms, and Estrada rode into San Luis Obispo to send telegrams to distracted families.
When she went to bed at midnight Virginia had worked out something of her rebellion in weariness. She had resurrected toys for the pinched children, helped the school-teachers and the Stanford students to trim a tree for them and to decorate the big rooms with snowberries and scarlet _toyon_--spurred herself to a civil semblance of hospitality. As she fell asleep she was aware of a feeling she had sometimes had when she was a rather bad and turbulent child--that, having been good, unusually, laboriously good--something good should and must come to her.
It came at sunrise, when Estrada wakened her, calling excitedly in front of her window. She slipped her feet into Indian moccasins and threw a _serape_ about her and padded down the long corridor and out on to the veranda. She heard people stirring as she passed the guest rooms; one of the children was whimpering with eagerness to be dressed and allowed to hunt for its Christmas stocking.
Behind the _mayordomo_ stood a tall man in uniform: for one mad moment her heart stood still and her eyes dilated and blurred and the figure in khaki swam dizzily in the keen morning light.
Then the old Spaniard stepped quickly forward and she saw that his eyes were wet. “_Gracias a Dios, Señorita_--it is a friend of _Señor Alejandrino_! At last he has come, over the sea and over the land, to bring you the message!”
The novel opens with a striking shift in narrative pace: Virginia Valdés McVeagh, nicknamed “Ginger,” has always divided men into “equals” and “inferiors,” but Dean Wolcott arrives “framed in mystery and hallowed by grief.” The prose moves from brisk, declarative sentences about her ranch life to a slower, more sensory passage describing the spring day when official news of her brother’s death arrived. The contrast between the “lilting” meadow larks and the blunt statement “Aleck was dead” establishes a pattern of emotional and rhythmic modulation.
Voice and the Two Protagonists
The narrative voice is not uniform. Ginger’s sections are direct and action-oriented: she “took competent charge” of the ranch, rides with the mayordomo, and thinks in practical terms. Her language is colloquial and brisk, matching her nickname. In contrast, Dean Wolcott’s introduction is marked by disorientation. When he stammers “My name is Norval—” and breaks off “gasping, horrified,” the prose fragments to mirror his mental state. The text uses free indirect discourse to render his confusion, as when he “might have been back in the hospital in England, fighting for memory through black clouds.” These two voices do not merge; they alternate, creating a dialogue between competence and vulnerability.
Pace and the Domestic Interlude
Chapter X slows the narrative dramatically. Dean enters Margaret Golinda’s cottage, and the prose lingers on sensory details: “a leaping, crackling fire,” “pale green china,” “a thin old silver spoon.” The scene is structured around the ritual of tea—three cups, toast, wild sage honey—and Mrs. Golinda’s deliberate chatter, which gives Dean time to recover. The pace is almost static, with the narrator noting that “he yielded body and brain to a delicious drowsiness.” This is a deliberate contrast to the earlier ranch scenes of movement and decision. The text uses the physical setting—the fire, the cushions—to signal a shift from external action to internal restoration.
Recurring Details and Their Rhythm
Certain details recur with rhythmic effect. The “corduroys” of the title appear early: Ginger wears her “worn and mellow corduroys” while riding. The fabric suggests practicality, durability, and a connection to the land. Later, the dedication “to W. S. Y. who has put on corduroy and wears it well” extends the metaphor to a way of living. Another recurring element is the weather: the “delicate day of early California spring” in the opening contrasts with the “fog-chilled” atmosphere of Dean’s arrival. These shifts in climate mirror the emotional and narrative tempo, from the bright, active world of the ranch to the enclosed, warm interior of Mrs. Golinda’s house.
Structure and the Incomplete View
The excerpts cover only the first ten chapters of a 25-chapter novel, so the overall arc remains uncertain. However, the pattern of alternating focalization—Ginger’s decisive action versus Dean’s hesitant perception—suggests a narrative built on contrast rather than synthesis. The text does not yet reveal how these two threads will intersect, but the careful modulation of pace and voice indicates that the novel is as concerned with psychological recovery as with ranch life. Readers should attend to how the prose shifts between brisk summary and immersive scene, and how the physical environment—hills, fog, firelight—shapes the characters’ inner states.
Mitchell’s prose rewards attention to its rhythmic shifts: the novel moves between the clipped, competent world of ranch management and the slow, sensory spaces of convalescence. The incomplete excerpts leave key questions open—how Ginger and Dean’s stories will converge, and whether the corduroy metaphor will expand. Readers are encouraged to track the recurrence of tactile details (fabric, weather, tea) and to note how the narrative voice changes when it inhabits each character’s consciousness.
Corduroy’s slow, sensory moments of recovery reminded me of mornings on my grandfather’s ranch, where silence felt like medicine. Another book once gave me that same quiet ache—Divots — Story, Setting & Ideas—its pages holding a similar hush between people learning to breathe again. I sat with it longer than I meant to, grateful for the stillness.
There are no reviews for this eBook.
How will you remember this book?
Save your reaction, strongest insight, and memorable passage.