Coniston — Volume 01 — Key Ideas to Explore
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This digital edition of Coniston — Volume 01 — Key Ideas to Explore is described by source-level measurements including 30,920 words, 2 hr 15 min estimated reading time, and 3 detected text sections.
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Read the Text
Jock began to fashion some wooden pegs with his adze, for nails were scarce in those days. Still Cynthia lingered, picking flowers from the bunch.
"What did you mean by 'fox and geese' Jock?" she said presently.
Jock laughed. He did not belong to the Establishment, but was a Universalist; politically he admired General Jackson. "What'd you say if Jethro was Chairman of the next Board of Selectmen?" he demanded.
No wonder Cynthia gasped. Jethro Bass, Chairman of the Board, in the honored seat of Deacon Moses Hatch, the perquisite of the church in Coniston! The idea was heresy. As a matter of fact, Jock himself uttered it as a playful exaggeration. Certain nonconformist farmers, of whom there were not a few in the town, had come into Jonah Winch's store that morning; and Jabez Miller, who lived on the north slope, had taken away the breath of the orthodox by suggesting that Jethro Bass be nominated for town office. Jock Hallowell had paused once or twice on his work on the steeple to look across the tree-tops at Coniston shouldering the sky. He had been putting two and two together, and now he was merely making five out of it, instead of four. He remembered that Jethro Bass had for some years been journeying through the town, baying his hides and wool, and collecting the interest on his mortgages.
Cynthia would have liked to reprove Jock Hallowell, and tell him there were some subjects which should not be joked about. Jethro Bass, Chairman of the Board of Selectmen!
"Well, here comes, young Moses, I do believe," said Jock, gathering his pegs into his apron and preparing to ascend once more. "Callated he'd spring up pretty soon."
"Jock, you do talk foolishly for a man who is able to build a church," said Cynthia, as she walked away. The young Moses referred to was Moses Hatch, Junior, son of the pillar of the Church and State, and it was an open secret that he was madly in love with Cynthia. Let it be said of him that he was a steady-going young man, and that he sighed for the moon.
"Moses," said the girl, when they came in sight of the elms that, shaded the gable of the parsonage, "what do you think of Jethro Bass?"
"Jethro Bass!" exclaimed honest Moses, "whatever put him into your head, Cynthy?" Had she mentioned perhaps, any other young man in Coniston, Moses would have been eaten with jealousy.
"Oh, Jock was joking about him. What do you think of him?"
"Never thought one way or t'other," he answered. "Jethro never had much to do with the boys. He's always in that tannery, or out buyin' of hides. He does make a sharp bargain when he buys a hide. We always goes shares on our'n."
Cynthia was not only the minister's daughter,--distinction enough,--her reputation for learning was spread through the country roundabout, and at the age of twenty she had had an offer to teach school in Harwich. Once a week in summer she went to Brampton, to the Social library there, and sat at the feet of that Miss Lucretia Penniman of whom Brampton has ever been so proud--Lucretia Penniman, one of the first to sound the clarion note for the intellectual independence of American women; who wrote the "Hymn to Coniston"; who, to the awe of her townspeople, went out into the great world and became editress of a famous woman's journal, and knew Longfellow and Hawthorne and Bryant. Miss Lucretia it was who started the Brampton Social Library, and filled it with such books as both sexes might read with profit. Never was there a stricter index than hers. Cynthia, Miss Lucretia loved, and the training of that mind was the pleasantest task of her life.
The narrator of Coniston — Volume 01 announces a love story but immediately warns readers it will end unhappily, promising a longer one later. This playful, direct address sets a tone of intimate confidence, as if the reader is being let in on a secret. The narrator also frames the story within a political era, calling it the “Boss-Era,” and uses a quotation from James Russell Lowell to underscore the theme that democracy requires virtue and wisdom, not just declamation.
The Narrator’s Self-Aware Voice
The narrator frequently breaks the fourth wall, acknowledging the act of storytelling. He says, “I am getting far ahead of my love-story—and of my book,” and later inserts parenthetical asides like “(Farm and buildings on Thousand Acre Hill mortgaged to Jethro Bass.)” These asides are not footnotes but part of the main text, creating a conspiratorial tone. The narrator also admits to editorializing: “The notes are mine, not Moses's. Strange that they didn't occur to Moses.” This technique gives the reader a sense of peering behind the curtain, seeing the author’s hand arranging events.
Landscape as Political Metaphor
The opening description of Coniston Mountain and Coniston Water is lush and specific: the mountain “clad in Hercynian forests,” the water “oozes out from under the loam in a hundred places.” This natural abundance is immediately tied to human industry—the water turns mills at Brampton and Harwich, “idles through meadows,” then “tumbles into a river.” The landscape is not just backdrop; it is a source of power, both literal (water power) and political. The narrator notes that the giant pines once gave masts to King George’s navy, linking the land to colonial history and economic control.
The Mechanics of a Rigged Town Meeting
The town meeting scene is rendered with granular detail. The narrator lists a ticket of candidates with parenthetical notes revealing each man’s mortgage to Jethro Bass. The weather—a sleet storm—is described as “Heaven-sent” by the orthodox deacons, but the narrator shows how the storm actually works in Jethro’s favor: men come “through fear” or “ambition,” each “impelled by a motive” strengthened by “a master mind.” The meeting itself is a set piece of political theater, with the deacons “aghast” as men who haven’t attended in a decade troop in. The narrator’s tone is wry, not indignant, as he observes the shift in power.
Diction and the Weight of Words
Churchill’s diction in this volume oscillates between formal, almost archaic phrasing (“Hercynian forests,” “stanch old deacons”) and colloquial asides (“Sop of some kind to the Established Church party”). The narrator uses the word “chestnuts” twice to describe what the powerful steal through constitutional loopholes, a folksy term that undercuts the gravity of the subject. Dialogue is sparse but pointed: Deacon Ira Perkins “would not speak to his son Chester,” who has become a Jacksonian Democrat and “an outcast, to be prayed for but not spoken to.” The language of religion and politics intertwines, as when Priest Ware preaches “in mittens” and denounces “sedition in general.”
Readers should pay attention to the narrator’s asides and the way he frames the story as a constructed narrative. The political machinations are laid bare, but the novel’s subtitle—a love story—reminds us that personal relationships are entangled with public power. The excerpts suggest that Churchill is less interested in romantic plot than in the forces that shape a community, from mortgages to sleet storms.
There’s something about Coniston that stays close, that quiet watching of a town’s hidden pulls. It reminded me of how Jeremy — Themes and Context lingers too—not with big gestures, but that tender, unsure space where people feel moved by things they can’t quite name. I keep thinking about that meeting, how the hills seemed to hold every unspoken choice.
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