Spellbinders — A Closer Reading

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Banning, Margaret Culkin, 1891-1982 Project Gutenberg 2023 Not confirmed
City and town life -- Fiction; Middle West -- Fiction; Women -- Political activity -- Fiction; Spouses -- Fiction Readers of public-domain and historical texts
Project Gutenberg digital edition en

Edition facts

Words 85,646
Reading time 373 min
Text sections 9

Before opening Spellbinders — A Closer Reading, the edition data offers a quick orientation: 85,646 words, 6 hr 13 min estimated reading time, and 9 detected text sections.

The text analysis averages about 13.3 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 “City and town life -- Fiction,” connecting these edition facts with the source record’s subject description.

Banning's novel follows Gage Flandon's prejudice against his wife's friend Margaret Duffield, a politically active woman, and the intertwined lives of Freda, Gregory, and others in a Midwestern city. The opening establishes tension around gender roles and self-consciousness, while later excerpts reveal Freda's secret romance and the community's gossip.
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Editorial Edition Score 4.8/5

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  • Title & short description10 pts
  • Source metadata20 pts
  • Text length15 pts
  • Chapters / structure15 pts
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Read the Text

oment to appraise her as he crossed the room. Rather prettier--well, he had been warned of that, she had carried the famous Daisy Chain in college,--cleverly dressed, like his own wife, but a trifle more eccentric perhaps in what she was wearing. Not as attractive as Helen--few women were that and they usually paled a little beside her charm. A hard line about her mouth--no, he admitted that it wasn’t hard--undeveloped perhaps. About Helen’s age--she looked it with a certain fairness--about thirty-one or two.

She met him with the same directness with which she had regarded him, giving him her hand with a charming smile which seemed to be deliberately purged of coquetry and not quite friendly, he felt, though that, he quickly told himself, must be the reflection of his own mood.

“And how do you find Helen?” he asked her.

“Very beautiful--very dangerous, as usual.”

“Helen is always dangerous. She uses her power without directing it.”

He had a sense of relief. That was what he had been feeling for. That was the trouble with Helen. But on that thought came quickly irritation at the personal comment, at the divination of the woman he disapproved of.

“It is sometimes a relief,” he said, “to find some woman who is not deliberately directing her powers.”

“You make my idea crystallize into an ugly thought, Mr. Flandon. It’s hardly fair.”

There she was, pulling him into heavy argument. He felt that he had been awkward and that it was entirely her fault. He took refuge in the commonplaces of gallantry.

“Ugly thoughts are impossible in some company. You’re quite mistaken in my meaning.”

She smiled, a half amused smile which did not so much reject his compliment as show him how impervious she was to such things. Deliberately she turned to Helen who had been enveloped by the ponderous conversation of the host. Mr. Brownley liked to talk to Helen and Helen was giving him that absorbed attention which she usually gave to any man. Gage and Margaret joined them, and as if she wondered at the brevity of their initial exchange, Helen gave them a swift glance.

“Well,” she said, “have the feminist and the anti-feminist found peace in each other?”

“She refuses to be complimented,” grinned Gage, rather sheepishly, immensely grateful to Helen for making a joke of that momentary antagonism.

“Have women given up their liking for compliments?” Mr. Brownley beamed upon them beneficently, quite conscious of his ability to remain gallant in his own drawing-room. “Not these women surely.”

Gage flushed a little. It was almost what he himself had said. It had been his tone.

“We have been given so much more than compliments, Mr. Brownley,” said Margaret Duffield, “that they seem a little tasteless after stronger food.”

“Not tasteless to most of us. Perhaps to a few, like Margaret. But most of us, men and women, will like them as long as we have that passion for appearing to ourselves as we would like to be and not as we are.”

Over recovered ease of manner, Gage smiled at Helen. She had taken that up neatly. She had penetration, not a doubt of it. Why did she try then to subordinate herself to these other women, people like this Duffield girl, these arrogant spinsters? He greeted his hostess, who came from the library, where a group of people were already settled about the card tables.

“Will you make a fourth with the Stantons and Emily Haight, please, Gage? You like a good game and Emily can furnish it.”

Mrs. Brownley was a tall, elaborately marcelled woman of about fifty. Handsome, people said, as they do say it of a woman who commands their eyes even when the sex attraction has gone. She had the ease of a woman whose social position is of long standing, the graciousness of one who has nothing to gain and the slight aggressiveness of one who has much to bestow. Gage liked her. He remembered distinctly the time of her reign as one of the “younger matrons”--he had been a boy home from college when, at thirty-five, Mrs. Brownley, successfully the mother of two children, was dominating the gayety of the city’s social life. Just as now--her hair gray and marcelled, and her dancing vivacity cleverly changed into an eagerness of interest in “welfare work” or “civic activity”--she released energies more in keeping with her age.

“I’ll go anywhere you want me to,” he said, “I’ll play checkers or casino. I’ll do anything--except talk to feminist females.”

“Well, Emily’s surely no feminist--go along then--”

The novel opens with Gage Flandon helping his wife Helen into her fur cloak before a party, where she will reunite with her old college friend Margaret Duffield. Gage admits to a prejudice against Margaret, whom he has never met, based on her letters and the nervous excitement she stirs in Helen. He dislikes what he calls 'fake women' and their 'horrible consciousness—self-consciousness.' This initial scene sets up a tension between Gage's skepticism and Helen's admiration, hinting at broader conflicts about women's roles in public life.

Gage's Prejudice and Helen's Excitement

The opening chapter establishes Gage Flandon's irritation with his wife's anticipation of Margaret Duffield's visit. He tells Helen, 'You’re not real. You begin by wondering whether you’ve kept up to the college standard of women,' suggesting that Margaret's influence makes Helen self-conscious. Gage's language—calling Margaret 'strong-minded' and 'rapacious'—reveals his discomfort with women who assert themselves. Helen, by contrast, is 'quite excited' and defends her friend. This exchange, occurring in the car on the way to the Brownleys', frames the novel's exploration of how women's ambitions affect their marriages and social circles.

Freda's Secret Happiness

Later excerpts shift focus to Freda, a young woman working in an office. She is 'serene and happy,' absorbed in her secret romance with Gregory. Her happiness 'seemed to shut her completely off from every one,' even her father. Freda treasures Gregory's letters—'so frequent, so irregular, so curiously timed and written—on the back of a menu, on a scrap of envelope.' She reflects on love as 'the mystery of love' and wonders about having a baby. This interior portrait contrasts with the earlier public tensions, showing a private world of emotion that defies the gossip and suspicion of others, such as the Brownley girls and Mr. Sable.

Gossip and Suspicion in the Community

The narrative also tracks how others perceive Freda and Gage. Mr. Sable, a senior partner, speculates about Gage's nerves, considering 'the woman solution' or 'liquor trouble.' He notes Gage's unusual hiring of Freda—'Bright enough but no experience'—and wonders if Gage is 'playing the fool with some woman.' Meanwhile, the Brownley girls engage in 'ugly, furtive, rather lustful conversations,' and Ted Smillie spreads a 'little discovery' about 'smooth touch-me-not girls.' These details create a web of observation and judgment, where characters' motives are constantly questioned, and private lives become public speculation.

Margaret's Influence and Political Undertones

Though Margaret Duffield appears only through others' references in the excerpts, she looms large. Helen calls her 'an old college friend' who has come to 'bolster up the fortunes of your own political party.' Gage fears her effect on Helen, and the catalog subjects—'Women -- Political activity -- Fiction'—confirm that Margaret's role involves political engagement. The novel's title, Spellbinders, may allude to charismatic speakers or the captivating power of such women. The excerpts suggest that Margaret's arrival will disrupt the Flandons' marriage and challenge Gage's assumptions, though the full extent of her influence remains to be seen.

The excerpts offer a layered introduction to a novel concerned with the interplay of public roles and private desires. Readers should attend to how Banning uses dialogue and interior monologue to reveal characters' biases and vulnerabilities. The early focus on Gage's irritation and Freda's secrecy sets up a contrast between outward judgment and inward experience. As the story unfolds, the political and social dynamics hinted at in the opening may deepen, but the excerpts alone leave many questions unanswered.

There’s a quiet ache in how Banning shows us Gage’s stubbornness, the way he circles Margaret’s world without ever truly seeing it — a feeling I kept turning over long after I closed the book. It reminded me of something gentler in Divots — Story, Setting & Ideas, where the land itself seems to hold that same unspoken patience. Strange, how two stories can linger side by side like that.

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