The Motor Maids Across the Continent — Edition Insights

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Stokes, Katherine Project Gutenberg 2011 Not confirmed
Voyages and travels -- Juvenile fiction; Automobiles -- History -- Juvenile fiction; Rocky Mountains -- Description and travel -- Juvenile fiction; Salt Lake City (Utah) -- Description and travel -- Juvenile fiction; San Francisco (Calif.) -- Description and travel -- Juvenile fiction Readers of public-domain and historical texts
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Edition facts

Words 54,009
Reading time 235 min
Text sections 6

The Motor Maids Across the Continent — Edition Insights can be approached with a clearer sense of reading commitment from its source measurements: 54,009 words, 3 hr 55 min estimated reading time, and 6 detected text sections.

The text analysis averages about 15.0 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 “Voyages and travels -- Juvenile fiction,” connecting these edition facts with the source record’s subject description.

An editorial note on Katherine Stokes's 1911 novel, focusing on tensions between civilized travel and wilderness adventure, the character of Hot Air Sue, and the contrast between the Motor Maids' spirited dialogue and the perilous kidnapping episode.
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Editorial Edition Score 4.7/5

Calculated from edition completeness, EPUB availability, text structure and catalogue metadata. Not a user rating.

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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.

Edition quality

Read the Text

elds to promote any particular interest. But there was much to talk about.

“Was it only last week that we were four school girls at West Haven High School slaving over examinations?” cried Elinor Butler.

“Only a little week ago,” exclaimed Mary joyfully, “and now, behold us, free as birds on the wing.”

There was a flush of happiness on her usually pale face. It had been a long, hard spring for her, and she was glad after examinations were over, to hurry away with her friends without waiting for the final exercises.

“School! School!” said Nancy Brown, her face dimpling with happiness. “Don’t mention the hateful word. I am as full of mathematics and history and physics and Latin as a black cake is of plums.”

“Plums!” echoed Billie. “I’m stuffed with another variety of fruit. It’s dates.”

They laughed at the word dates; for, remembering dates, aside from mathematics, was the _bête noir_ of Billie’s school days and the teacher of history was very unpopular because she made the pupils of her classes learn six dates a day.

“But the class is even with Miss Hawkes now,” put in Nancy. “She isn’t to come back next year, and we gave her a present besides.”

“Why did you give her a present?” asked Miss Campbell, suddenly becoming curious.

“Well, you see, at the end of school we reckoned we had learned about 800 dates, not that we could remember 100 or even 50. It was Elinor who thought of it and because she has more nerve than any one else in the class——”

“Indeed I have not,” protested Elinor.

“Because she was never afraid even of the terrifying Miss Hawkes, she was chosen to make the speech and give Miss Hawkes a present from the class.”

Miss Campbell smiled. She was never tired of listening to their school-girl talk.

“What did you say and what was the present, my dear?”

“I said,” replied Elinor, “that, representing the class, I wanted to thank her for the splendid mental training she had given us last winter, and we wished to show our appreciation by giving her a little remembrance.”

“‘Remembrance’ was a good word, Elinor,” cried Billie.

“If she hadn’t been so pleased and made that speech of thanks, it wouldn’t have mattered so much,” put in Mary. “But I was ashamed when she untied the ribbons on the box——”

“And what was in it, child?” demanded Miss Campbell.

“Dates,” cried Billie, “dozens of dates packed in as tightly as dates can be packed, just as she had been packing them into our brains for nine months.”

“Oh! oh!” exclaimed Miss Campbell, trying to be shocked and laughing in spite of herself. “The poor soul! How embarrassed she must have felt. Was she very angry?”

“We couldn’t tell whether she was angry or hurt,” answered Elinor. “She drew herself up stiffer and straighter than usual if possible, and marched out of the room without a word.”

“And left us feeling very foolish indeed, cousin,” went on Billie. “But that isn’t all. Because I was the one who never could remember a date from one day to the next, I suppose she suspected me of having been the ring-leader and this morning when we stopped at the desk of the hotel for mail, the clerk handed me this letter. It was forwarded from West Haven.”

Billie drew an envelope from the pocket of her motor coat and gave it to the others.

“Read it,” she said. “I didn’t mention it before because I was so much interested in getting away and I had really forgotten it until the subject came up. I suppose Miss Hawkes is just a little queer in her upper story.”

“I understand you are going West in your automobile. If, on your journey, you should by chance hear the name of ‘Hawkes,’ do not treat it as lightly as you did in West Haven. Somewhere in the West that name is powerful.

“How absurd!” exclaimed Elinor. “She is queer. I am certain of it.”

“Anyhow,” pursued Billie, “I am ashamed of what we did now. I suppose it must have hurt her awfully.”

“Not more than she hurt us when she scolded us for forgetting those awful dates,” said Nancy relentlessly.

“Oh, well,” put in Miss Campbell, “she is just an angry old spinster who got obsessed with dates and then had a rude awakening. I don’t think it was exactly respectful to have given the lady a box of dried dates. But she brought it on herself, as you say. Tear up the letter and forget all about it. I have no doubt she is a perfectly harmless old person.”

From the opening chapter, The Motor Maids Across the Continent establishes a central tension between the comforts of modern travel and the allure of a “wild adventure.” Miss Helen Campbell, the chaperone, protests that at her age she is becoming a “gypsy vagabond,” while the younger women tease her with reminders of their silk coats and hotel accommodations. This contrast between domestic security and the unknown road shapes the narrative, as the automobile—nicknamed the Comet—becomes both a symbol of freedom and a vulnerable target.

The Comet and the Open Road

The automobile is not merely transportation but a character in its own right, described as a “spirited horse” eager to be on the road. The journey from Chicago to San Francisco is framed as a “famous journey,” yet the text quickly undercuts any sense of leisurely touring. In the kidnapping episode, the car becomes a site of danger: Billie is drugged, hidden under a robe, and driven toward Colorado. The machine’s speed—the “swift motion” that revives her—also enables her escape when she cranks it up and flees. The road itself is ambiguous: a “first right road” that later becomes “wrong,” forcing reliance on local knowledge.

Hot Air Sue: Ally or Outsider?

Hot Air Sue, an Indian woman, occupies a complex role. She is initially part of the kidnapping plot, but she secretly aids Billie, whispering “Sue save young lady” and slashing the kidnapper’s wrist with a knife. Her speech is terse—“Umph!” and “White girl hurry”—and she is described as having “stolid admiration” for Billie’s driving. Yet she remains an outsider, her motives unclear. The text does not fully explain why she helps, nor does it grant her interiority beyond her actions. This ambiguity invites readers to consider how the story uses her as both a helper and a figure of the exotic West.

Kidnapping as a Test of Resolve

The kidnapping sequence is the most intense passage in the excerpts. Billie, drugged and exhausted, maintains a clear mind: “Although her body was exhausted, her mind was clear.” She thinks connectedly, plans her escape, and acts with cold deliberation. When she sees the kidnapper fall, she feels “deliberately and cruelly cold-blooded” and would have continued even if his back were broken. This moment contrasts sharply with the playful banter of the opening pages. The shift in tone—from lighthearted teasing to grim survival—shows how the journey tests the characters’ courage and resourcefulness.

Readers attentive to the novel’s structure will notice how the early emphasis on polite adventure gives way to genuine peril. The excerpts suggest that the Motor Maids’ journey is not merely a scenic tour but a series of trials that reveal character under pressure. Pay particular attention to how the narrative balances the girls’ camaraderie with the threats they encounter, and how figures like Hot Air Sue complicate the story’s moral landscape.

Whenever Hot Air Sue’s unladylike grit surfaces during the Motor Maids’ wilderness scrape, I find myself drifting back to an old, simpler story of a boy learning to trust the mountains alone. That same quiet tension between comfort and raw nature lingers there too, in Frank in the Mountains — Background and Themes. Somehow, both volumes smell like canvas and campfire smoke.

Lucas Anderson
2 weeks ago

Mila Allen
4 weeks ago

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1 month ago

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