The Mystery of Jockey Hollow Arden Blake Mystery Series #2 — Story, Setting & Ideas
Edition facts
This digital edition of The Mystery of Jockey Hollow Arden Blake Mystery Series #2 — Story, Setting & Ideas is described by source-level measurements including 50,403 words, 3 hr 40 min estimated reading time, and 8 detected text sections.
The text analysis averages about 12.4 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 “Friendship -- Juvenile 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
into play a shining black patent-leather opera pump that was vaguely reflected in the polished floor beneath. Terry wore lovely shoes.
Arden took the letter and was examining it, front and back, feminine fashion. A leading jurist once said that if a woman was given a letter or any piece of paper she would, without fail, turn it over and look on the other side. Arden, however, was rewarded, for on the reverse, in large red letters, was the name “Rita Keene.”
“It’s from Dot’s mother,” exclaimed Arden. “I suppose it says Dot can’t come. But I should think she’d be glad to have her daughter visit such lovely girls as we are.” Premeditated sarcasm here.
“Are we lovely girls?” inquired a voice from the stair landing above. “Seems to me I heard a little shouting.”
“Sim! Where were you? I’ve been shouting for ages!” Terry announced.
“I know. I was phoning. I just called Ellery’s. I thought we could go for a ride through Jockey Hollow. It’s such a nice day, and we have the marketing done and everything.” Sim, a rather small light-haired girl, already dressed in riding clothes, was descending the stairs as she spoke.
“Open this letter first. It’s addressed to you. From Dot’s mother.” Terry handed over the missive as Arden made this demand on Sim.
“You could have opened it,” suggested Sim, carefully inserting a tiny shell-pink nail under the flap, in no hurry at all.
“It says,” she began, “‘My dear Miss Westover: I shall be most happy to have Dorothy spend the Christmas holidays with you. I am rehearsing in a new play and would have very little time to give her. I know you will enjoy yourselves. Cordially, Rita Keene.’ That’s all. Oh, no, it isn’t, either. It says, also, that Dot will get here tomorrow on the eleven o’clock train. We’ll meet her,” Sim concluded.
“Will you ask her, in due time, of course, to take her turn at doing the marketing?” Terry wanted to know.
“A good thought,” murmured Arden.
While Sim’s parents were spending Christmas in the South, Arden, Terry, and Sim had been entrusted with the running of the big town house. Arden and Terry were Sim’s guests over the holidays until it should be time to return to Cedar Ridge College, where they were freshmen. A last-moment idea had been to invite Dot Keene, also a freshman, to make one of the house party. Now, it appeared, Dot was coming.
Although Arden and Terry had their own fine homes in Pentville, not far removed from the Westover residence, they thought it much more fun to come and live with Sim and help her manage over the Christmas vacation. Like all girls, they were sure they could do it if once given the chance. So when Mr. and Mrs. Westover decided to go South, and when it was impracticable, because of the projected length of their stay, to take Sim with them, they agreed to let the three girls try housekeeping.
Moselle and her daughter Althea were there, of course, and would remain to do the housework. Moselle had been in service with the Westover family ever since Sim’s baby days, and Althea, blacker, if possible, than her mother, was learning the ways of a parlormaid and waitress. Henry, husband of Moselle, was driving Sim’s parents South in the big car. A small roadster had been left for Sim’s use.
“I don’t know,” spoke Sim in response to the suggestion of Terry and its seconding by Arden, “I think I’ll have to wait until we are a little better acquainted with Dot before suggesting marketing to her. I wouldn’t like to embarrass her so soon. Which reminds me—what did you order for lunch, Terry?”
“Lamb chops, baked potatoes, peas, salad, and some of Moselle’s special lemon meringue pie,” Terry answered practically, licking her lips in appetizing anticipation.
“Good!” exclaimed Arden and Sim in unison. And it was good.
“Did you make a date to ride today, or did I imagine it?” Arden next asked, getting back to the original subject.
“I nearly forgot. Yes, I did. For half-past ten. You two hurry and change while I get the car out.” Sim was already starting out of the front door, while her companions, murmuring about Sim’s habit of letting things go until almost the last minute, dashed up the stairs to the bright pleasant room they shared in Sim’s home.
The Mystery of Jockey Hollow opens not with a ghost but with a radio, a letter, and a pair of patent-leather opera pumps. In the first chapter, Arden Blake is curled up reading ghost stories while her friend Terry Landry, impatiently tapping her foot, tries to summon Sim. The scene establishes a domestic, college-age world where mysteries are initially treated as amusing puzzles. The catalog subjects list ghosts, haunted houses, and holidays, but the excerpts show that the supernatural is immediately questioned: Arden declares, “I don’t believe it’s a ghost house at all.” The real tension emerges from a workman’s accident in an ash-chute, prompting Sim to say, “This isn’t a ghost story, it’s a detective story now.” The book balances lighthearted banter with a serious investigation into property rights and labor disputes.
From Ghost Stories to Detective Work
The catalog labels this a mystery and detective story, but the excerpts reveal a deliberate shift in genre within the narrative. Early on, Arden reads a book of ghost stories, and the friends treat the haunting of Jockey Hollow as an amusing puzzle. However, after Jim Danton falls down an ash-chute and is injured, the tone changes. Sim declares, “This isn’t a ghost story, it’s a detective story now.” Arden agrees: “It must be real and it must have humans in it.” The novel thus explicitly rejects supernatural explanations, reframing the mystery as a human crime. This move is reinforced by Sim’s suggestion of “labor troubles”—that a rival contractor might be sabotaging the demolition. The excerpts show the characters consciously choosing a rational, investigative approach over credulity.
The Material Details of an Old House
Jockey Hollow is described as a “proud old house” with a cellar, an ash-chute, and “hand-forged hooks” in a closet. These details ground the mystery in physical objects rather than spectral apparitions. The ash-chute becomes a site of real danger, not supernatural fright. Arden’s observation that the house is of “Revolutionary importance” and may contain valuable “pickings” introduces an economic motive. The catalog subject “Buildings -- Repair and reconstruction” is borne out by the plot: the mansion is being torn down, and the contractor Mr. Callahan is central to the conflict. The excerpts emphasize that the haunting is tied to the building’s material history and its potential for salvage, not to any ghostly presence.
Friendship and Collective Investigation
The catalog lists “Friendship -- Juvenile fiction,” and the excerpts show a tight-knit group of girls—Arden, Sim, Terry, and Dot—working together. They share information, drive to visit the injured workman’s family, and promise to help Granny Howe prove her claim to the property. The dialogue is collaborative: “We’ve got something to think of now,” Sim says, and Arden responds, “We’re all going to help you!” The investigation is a group effort, with each friend contributing observations. The excerpts do not show a lone sleuth but a collective, and the girls’ interactions are marked by teasing and concern. This social dynamic is as central to the story as the mystery itself, reflecting the series’ focus on young women’s camaraderie.
Readers approaching The Mystery of Jockey Hollow should expect a story that uses ghost-tropes only to dismantle them. The excerpts suggest that the novel rewards attention to physical clues—the ash-chute, the hooks, the contractor’s insurance—rather than spectral ones. The friendship among the four girls provides a steady, reassuring counterpoint to the escalating danger. The book is best read as a rational mystery set in a specific historical and economic context, not as a supernatural tale.
There are stories that follow you home, and that old mansion in The Mystery of Jockey Hollow felt that way—its quiet menace stayed with me long after the last page. That lingering sense of place reminds me of something gentler, The House That Grew — Story, Setting & Ideas, where a house almost breathes. Different mood, same shadowy warmth. I still think about both.
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