Railroad building, and other stories

In Short

This collection of short stories captures the late 19th-century American childhood, where the values of integrity, empathy, and religious faith are woven into everyday life. Through tales of children building railroads in the sand, navigating the consequences of mischief, and learning the beauty of the natural world, the book explores how small, deliberate actions—or "inasmuch" kindnesses—shape a developing character. It has lasted as a gentle, instructive window into an era that prioritized character building, earnest conversation, and the integration of faith into the mundane experiences of youth.

The Story

The collection opens with a group of boys planning a grand railroad, led by a boy who understands the mechanics of engineering from his father. This play, while seemingly innocent, sets the stage for a recurring theme: the transition from childhood games to adult responsibilities, and the importance of preparing for a metaphorical "King’s Highway of Holiness."

In the subsequent stories, the stakes remain grounded in the home and neighborhood. In "A Very Sly Fellow," two young boys, Morris and Jack, face the weight of a lie after breaking a banjo string. Their fear of being blamed for other household accidents is only resolved when a runaway monkey is discovered, exonerating them of the worst of the mischief—though the lesson of honesty remains the central focus. Similarly, "Mabel's 'Inasmuch'" follows a girl struggling with her father’s decision to bring home a cousin. Mabel eventually finds peace by reframing her reluctant care for the "disagreeable" girl as a duty performed for a higher purpose, discovering that love often follows the act of serving.

The narrative arc of the book continues through "Fretting Lettie," where a girl, weary of her large, busy family, runs away to live with a wealthy, orderly relative. This experiment in "elegant leisure" quickly turns into an experience of profound loneliness, leading Lettie to realize that the chaotic warmth of her siblings and parents is her true home. Finally, the book transitions into the structured, instructive narrative of "Mrs. Browne's Botany Class." Here, the focus shifts to the intellectual and moral development provided by a devoted mother. Through lessons on cotyledons, roots, and flowers, the children learn not just the biology of plants, but the importance of thoroughness and the beauty of the natural order. The book concludes with these children encountering a blind stranger, a moment that emphasizes the power of memory and the importance of kindness, bringing the collection to a close with a sense of quiet, moral continuity.

How It Unfolds

The railroad vision Will rallies his peers to build a miniature railroad, using the project to discuss enterprise and the serious, often painful, realities of life and loss.

The weight of a lie Morris and Jack grapple with the fear of punishment after an accident in a nursery, learning that truth-telling is essential regardless of the monkey-induced chaos surrounding them.

The service of love Mabel struggles to accept her forlorn cousin until she interprets the biblical mandate of the "inasmuch" as a personal call to show kindness to those she initially dislikes.

The cure for discontent Lettie Edmonds leaves her noisy home for a quiet, wealthy life, only to discover that her fretfulness was a symptom of ingratitude rather than the burden of family life.

The botany classroom Mrs. Browne gathers her children in a rustic booth to study the structure of seeds and plants, grounding their intellectual curiosity in the patient observation of nature.

The final lesson The children's botany studies intersect with a real-world encounter with a blind man, reinforcing their lessons on the beauty of nature and the duty of empathy.

The People

Will is the ambitious, imaginative young engineer who organizes his friends. Despite his youthful energy, he is marked by the early loss of his sister, Rose, which gives his play a somber, reflective undertone. Morris Bell is a curious boy who learns the hard way that misbehavior is better managed through confession than deception; his character is defined by his eventual relief when his mother stops doubting his word.

Mabel Taylor represents the introspective child who struggles with selfishness. Her growth is marked by her transition from resentment toward her cousin, Emma, to a sense of duty that ultimately blossoms into genuine affection. Lettie Edmonds begins as a girl defined by her "fretting," viewing her family as an obstacle to her personal interests. Her arc is the most dramatic, as she moves from a desire for independence to a realization that her happiness is inextricably linked to her home.

Mrs. Browne is the patient, intellectual center of the final stories. She acts as a guide, providing her children with the tools for scientific study and moral clarity. She represents the ideal of the period—a mother who uses the natural world to teach her children about both botany and the divine. Each of these characters starts with a limited or misguided view of their surroundings, and each finds a more mature, empathetic perspective through their interactions with family or the simple, quiet truths of their environment.

In Its Own Voice

"Father says you can do anything with money; but all the money in the world couldn't have saved little sister Rose from dying."

Will explains the harsh limits of worldly power while talking to his friends about building a railroad.

"He knew his master at once, and with the funniest grin, leaped on to his shoulder, fastening his hairy little paws tightly round his neck as though he never meant to let go."

The narrator describes the reunion between the monkey and his owner, which provides the final resolution to the children's mischief.

"I think now that a large family is just delightful, and I don't know how you all put up with me before."

After returning home from her attempted escape, Lettie offers this candid admission of her newfound appreciation for her siblings.

What It's Really About

The central argument of the book is that character is built through the small, daily choices of the domestic sphere. Whether through the honesty required in childhood play, the patience needed to love a difficult relative, or the discipline of studying the natural world, the book posits that virtue is not an abstract concept but a practice. It asks the reader to consider the "inasmuch" principle: that our treatment of others, especially those we find unappealing or inconvenient, is the truest measure of our spirit. It is an exploration of how gratitude and industry, when cultivated in a loving home, protect the child from the restlessness of selfishness.

Why Read It Today

This book is a quiet, contemplative read for those interested in the history of Victorian-era morality and the sentimental traditions of 19th-century children's literature. Readers who appreciate character-driven stories that move at a measured, earnest pace will find comfort in the way the book treats the emotional lives of its young protagonists. It feels like a series of gentle lectures delivered by a wise, if firm, mentor.

However, the modern reader should be prepared for the book's period-specific earnestness. The dialogue is frequently didactic, and the religious messaging is pervasive, which may feel heavy-handed to those not accustomed to the style of the era. The portrayal of family dynamics is strictly traditional, and the children often speak with a formal maturity that can seem jarring. Despite these stylistic hurdles, there is an enduring sweetness in the stories—particularly the vignettes about the "botany class" and the honest, if imperfect, struggles of characters like Lettie. It is a book that stays with you not for its plot twists, but for its steady, unwavering insistence that kindness is a deliberate act, and that the beauty of a flower or the presence of a sibling is a blessing worthy of daily notice.