Cabin Fever — Themes and Context
Edition facts
This digital edition of Cabin Fever — Themes and Context is described by source-level measurements including 59,680 words, 4 hr 20 min estimated reading time, and 7 detected text sections.
The text analysis averages about 17.1 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 “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
d did well enough, which was very well indeed. Before the second season closed with the first fall rains, he had paid for his big car and got the insurance policy transferred to his name. He walked up First Street with his hat pushed back and a cigarette dangling from the quirkiest corner of his mouth, and his hands in his pockets. The glow of prosperity warmed his manner toward the world. He had a little money in the bank, he had his big car, he had the good will of a smiling world. He could not walk half a block in any one of three or four towns but he was hailed with a “Hello, Bud!” in a welcoming tone. More people knew him than Bud remembered well enough to call by name--which is the final proof of popularity the world over.
In that glowing mood he had met and married a girl who went into Big Basin with her mother and camped for three weeks. The girl had taken frequent trips to Boulder Creek, and twice had gone on to San Jose, and she had made it a point to ride with the driver because she was crazy about cars. So she said. Marie had all the effect of being a pretty girl. She habitually wore white middies with blue collar and tie, which went well with her clear, pink skin and her hair that just escaped being red. She knew how to tilt her “beach” hat at the most provocative angle, and she knew just when to let Bud catch a slow, sidelong glance--of the kind that is supposed to set a man's heart to syncopatic behavior. She did not do it too often. She did not powder too much, and she had the latest slang at her pink tongue's tip and was yet moderate in her use of it.
Bud did not notice Marie much on the first trip. She was demure, and Bud had a girl in San Jose who had brought him to that interesting stage of dalliance where he wondered if he dared kiss her good night the next time he called. He was preoccupiedly reviewing the she-said-and-then-I-said, and trying to make up his mind whether he should kiss her and take a chance on her displeasure, or whether he had better wait. To him Marie appeared hazily as another camper who helped fill the car--and his pocket--and was not at all hard to look at. It was not until the third trip that Bud thought her beautiful, and was secretly glad that he had not kissed that San Jose girl.
You know how these romances develop. Every summer is saturated with them the world over. But Bud happened to be a simple-souled fellow, and there was something about Marie--He didn't know what it was. Men never do know, until it is all over. He only knew that the drive through the shady stretches of woodland grew suddenly to seem like little journeys into paradise. Sentiment lurked behind every great, mossy tree bole. New beauties unfolded in the winding drive up over the mountain crests. Bud was terribly in love with the world in those days.
There were the evenings he spent in the Basin, sitting beside Marie in the huge campfire circle, made wonderful by the shadowy giants, the redwoods; talking foolishness in undertones while the crowd sang snatches of songs which no one knew from beginning to end, and that went very lumpy in the verses and very much out of harmony in the choruses. Sometimes they would stroll down toward that sweeter music the creek made, and stand beside one of the enormous trees and watch the glow of the fire, and the silhouettes of the people gathered around it.
In a week they were surreptitiously holding hands. In two weeks they could scarcely endure the partings when Bud must start back to San Jose, and were taxing their ingenuity to invent new reasons why Marie must go along. In three weeks they were married, and Marie's mother--a shrewd, shrewish widow--was trying to decide whether she should wash her hands of Marie, or whether it might be well to accept the situation and hope that Bud would prove himself a rising young man.
But that was a year in the past. Bud had cabin fever now and did not know what ailed him, though cause might have been summed up in two meaty phrases: too much idleness, and too much mother-in-law. Also, not enough comfort and not enough love.
B. M. Bower opens 'Cabin Fever' with a clinical definition of a mental malady: 'a certain malady of the mind induced by too much of one thing.' The narrator compares it to scurvy, then broadens the diagnosis to include ennui and the irritability of those 'shunted into a backwater of life.' This framing—part medical, part philosophical—immediately sets the novel apart from typical Western adventure tales. The catalog subjects list 'Western stories' and 'western-frontier,' but the excerpts focus less on cattle drives or gunfights and more on interior turmoil. Bud Moore, the protagonist, lies in his bunk nursing a headache and a grouch, replaying a drunken encounter with a rival. The story's tension is psychological: shame, jealousy, and the fear of being despised by his estranged wife, Marie.
A Malady of the Mind, Not the Landscape
The opening chapter does not describe a cabin or a fever in the medical sense. Instead, Bower offers a taxonomy of isolation: 'You may be afflicted in a palace and call it ennui… You may be attacked in a middle-class apartment house… You may have it wherever you are shunted into a backwater of life.' The setting is less important than the state of mind. Bud Moore's physical surroundings—a bunk, a headache—are sketched minimally. The catalog subject 'Western stories' might lead a reader to expect expansive descriptions of terrain, but the excerpts dwell on Bud's internal landscape: his 'miserable' self-assessment, his 'perverse delight' in appearing drunk, and his 'sneaking satisfaction' at another's downfall. Bower uses the concept of cabin fever as a psychological framework, not a plot device. The West here is a condition, not a place.
Bud Moore's Unreliable Self-Regard
The excerpts reveal Bud through his own thoughts, which are laced with contradiction. He recalls deliberately making himself 'appear more soddenly drunken' than he was, yet later feels 'ashamed of the drunken Bud Moore who had paraded his drunkenness.' He tells himself Marie 'couldn't think any worse of him than she already thought,' but immediately worries that Joe De Barr might inform her of his spree. His attitude toward his baby is detached: 'he had never rocked it… he had been afraid he might drop it, or squeeze it too hard.' These details build a portrait of a man whose actions and self-perception are at odds. The narrative voice, though third-person, stays close to Bud's consciousness, filtering events through his guilt and resentment. This interior focus aligns more with psychological fiction than with the action-driven Western genre suggested by the catalog.
The Rival and the Unspoken Past
Joe De Barr appears only in Bud's memory, but he functions as a catalyst for Bud's shame. Joe is described as 'smug and so well dressed and so immaculate,' twisting the ends of his 'little brown mustache' while watching Bud drink. The rivalry is economic and romantic: Joe knew Marie before Bud, and Bud suspects Joe would 'manage somehow to let her know that Bud was going to the dogs.' Yet the excerpts show that Bud and Joe never discussed Marie directly—'Joe had never intimated in his few remarks to Bud that there had ever been a Marie.' The past is a minefield of unspoken accusations. Bud's fear that Marie might 'despise him as well as hate him' suggests a marriage already broken, though the cause is not stated. The catalog's 'Western stories' label may imply clear conflicts, but here the enemy is memory and the fear of judgment.
Readers expecting a conventional Western of chases and shootouts will find instead a novel that tests character through enforced proximity and introspection. Bower's prose is direct, almost clinical, when diagnosing her protagonist's failings. The excerpts offer no resolution—Bud's headache, his grouch, and his shame are still present at the end of the provided text. Pay attention to how the narrator's voice shifts between detached observation and Bud's raw, self-lacerating thoughts. The 'cabin fever' of the title may prove to be less about a physical cabin than about the fever of a mind trapped with its own regrets.
Reading about Bud Moore’s shame in Cabin Fever, I found myself thinking of the quiet, clinical despair in that old medical guide, Round the Red Lamp: Being Facts and Fancies of Medical Life — A Reader’s Guide. Both books treat the body’s ache as something wider than a wound—one through a frontier town’s dust, the other through a doctor’s lamplight. Strange how a single ailment can feel so lonely.
There are no reviews for this eBook.
Before you leave, reflect on the book
Use these questions to collect your thoughts before moving on.