Wakulla: a story of adventure in Florida — Themes and Context
Edition facts
Wakulla: a story of adventure in Florida — Themes and Context can be approached with a clearer sense of reading commitment from its source measurements: 51,853 words, 3 hr 46 min estimated reading time, and 6 detected text sections.
The text analysis averages about 22.0 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 “Florida -- 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
PREPARING TO LEAVE THE OLD HOME.
Over and over again had Mark and Ruth Elmer read this paragraph, which appeared among the "Norton Items" of the weekly paper published in a neighboring town:
"We are sorry to learn that our esteemed fellow-townsman, Mark Elmer, Esq., owing to delicate health, feels compelled to remove to a warmer climate. Having disposed of his property in this place, Mr. Elmer has purchased a plantation in Florida, upon which he will settle immediately. As his family accompany him to this new home in the Land of Flowers, the many school-friends and young playmates of his interesting children will miss them sadly."
"I tell you what, Ruth," said Mark, after they had read this item for a dozen times or more, "we are somebodies after all, and don't you forget it. We own a plantation, we do, and have disposed of our PROPERTY in this place."
As Mark looked from the horse-block on which he was sitting at the little weather-beaten house, nestling in the shadow of its glorious trees, which, with its tiny grass-plot in front, was all the property Mr. Elmer had ever owned, he flung up his hat in ecstasy at the idea of their being property owners, and tumbled over backward in trying to catch it as it fell.
"What I like," said Ruth, who stood quietly beside him, "is the part about us being interesting children, and to think that the girls and boys at school will miss us."
"Yes, and won't they open their eyes when we write them letters about the alligators, and the orange groves, and palm-trees, and bread-fruit, and monkeys, and Indians, and pirates? Whoop-e-e-e! what fun we are going to have!"
"Bread-fruit, and monkeys, and pirates, and Indians in Florida! what are you thinking of, Mark Elmer?"
"Well, I guess 'Osceola the Seminole' lived in Florida, and it's tropical, and pirates and monkeys are tropical too, ain't they?"
Just then the tea-bell rang, and the children ran in to take the paper which they had been reading to their father, and to eat their last supper in the little old house that had always been their home.
Mr. Elmer had, for fifteen years, been cashier of the Norton Bank; and though his salary was not large, he had, by practising the little economies of a New England village, supported his family comfortably until this time, and laid by a sum of money for a rainy day. And now the "rainy day" had come. For two years past the steady confinement to his desk had told sadly upon the faithful bank cashier, and the stooping form, hollow cheeks, and hacking cough could no longer be disregarded. For a long time good old Dr. Wing had said,
"You must move South, Elmer; you can't stand it up here much longer."
Both Mr. Elmer and his wife knew that this was true; but how could they move South? where was the money to come from? and how were they to live if they did? Long and anxious had been the consultations after the children were tucked into their beds, and many were the prayers for guidance they had offered up.
At last a way was opened, "and just in time, too," said the doctor, with a grave shake of his head. Mrs. Elmer's uncle, Christopher Bangs, whom the children called "Uncle Christmas," heard of their trouble, and left his saw-mills and lumber camps to come and see "where the jam was," as he expressed it. When it was all explained to him, his good-natured face, which had been in a wrinkle of perplexity, lit up, and with a resounding slap of his great, hard hand on his knee, he exclaimed,
"Sakes alive! why didn't you send for me, Niece Ellen? why didn't you tell me all this long ago, eh? I've got a place down in Florida, that I bought as a speculation just after the war. I hain't never seen it, and might have forgot it long ago but for the tax bills coming in reg'lar every year. It's down on the St. Mark's River, pretty nigh the Gulf coast, and ef you want to go there and farm it, I'll give you a ten years' lease for the taxes, with a chance to buy at your own rigger when the ten years is up."
"But won't it cost a great deal to get there, uncle?" asked Mrs. Elmer, whose face had lighted up as this new hope entered her heart.
The story begins not in Florida but with a newspaper paragraph read aloud by children Mark and Ruth Elmer, announcing their family’s removal to a plantation. This opening establishes a pattern: news and letters drive movement, and the children’s excited misconceptions—monkeys, pirates, breadfruit—signal a gap between expectation and reality that the narrative will navigate. The excerpt from the mill picnic later shows how Munroe shifts from domestic preparation to communal enterprise, with the mill becoming a hub of activity. Water, whether the river or the millrace, recurs as a conduit for travel and transformation.
From Horse-Block to Millrace: Movement Between Scenes
The narrative moves through a series of distinct settings: the Elmers’ old home, the schooner Nancy Bell, a Florida reef, and finally the new plantation. Each transition is marked by a vehicle—a newspaper item, a ship, a canoe—that carries characters and readers alike. In the opening, Mark and Ruth sit on a horse-block, a static perch from which they imagine motion. By the mill picnic, Frank paddles a canoe upriver, and the children experience swift, angelic gliding. Munroe uses these shifts to contrast the familiar with the unfamiliar, often through the children’s eyes. The mill itself, powered by a released floodgate, becomes a mechanical heart of the new community, turning water into work.
Property and Its Comic Possibilities
Munroe treats the concept of property with a light, ironic touch. Mark exults over “our PROPERTY” though the family home is modest; later, Joe the freedman proudly presents his single ox, an “ok” he believes is the singular of “oxes.” Frank’s diplomatic praise—“one of the handsomest oxen of its size”—underscores the gap between Joe’s pride and the animal’s actual stature. These moments recur: the children’s imagined ownership of a plantation, the mill’s charitable grinding of corn, and the auction scene hinted at in the chapter list. Property is less a fixed state than a source of comedy, negotiation, and community bonding.
Water as a Recurring Image and Agent
Water appears in multiple forms: the river that must be ferried, the millrace that turns the wheel, the underground river mentioned in a chapter title, and the “sulphur spring” near the picnic grove. In the mill episode, the fog lifts to reveal the river, and the horn summons the ferryman. Ruth’s friend Grace, a “little Wakulla girl,” has never traveled so swiftly as in the canoe, and she compares the sensation to angels flying. Water is not just a setting but an agent of change—it powers the mill, enables transport, and hints at hidden depths (the underground river). Munroe uses it to link the mundane (ferrying corn) with the wondrous (angelic flight).
Voices and Vernacular in Community Scenes
The mill picnic brings together a range of speakers: old Uncle Silas Brim, whose corn is ground first; Joe with his “ok”; and the narrator’s own voice, which occasionally adopts dialect for comic effect. Munroe renders speech patterns distinctly—“sence de risin’ ob de mo’nin’ star”—but avoids caricature by giving each speaker a clear motivation. Joe seeks validation for his purchase; the old uncles tell stories of “befo’ de wah”; middle-aged men rejoice in freedom. These voices create a layered community, one that the Elmer children are only beginning to understand. The narrative does not linger on any single perspective but moves among them, much as the ferry moves across the river.
Readers attentive to structure will notice how Munroe builds each chapter around a discrete event—a wreck, an auction, a fire—while threading water and property through them. The excerpts offer only fragments, but they suggest a book that values motion over stasis, and communal labor over individual heroism. Approach the text as a series of linked episodes, each pivoting on a journey or a task, and watch for the recurring details that tie them together.
Reading about the mill picnic near the river brought back a summer afternoon when work paused and the water seemed to hold everyone’s attention. That same feeling returned with Wacousta : a tale of the Pontiac conspiracy — Volume 2 — Background and Themes, where quiet moments against a vast wilderness make the stakes feel closer, almost personal.
There are no reviews for this eBook.
What did you think of this book?
Answer a few questions and save a private reflection on this device.