The Cruise of the Jasper B. — Text and Context

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Marquis, Don, 1878-1937 Project Gutenberg 1996 Not confirmed
Adventure stories; Cruise ships -- Fiction Readers of public-domain and historical texts
Project Gutenberg digital edition en

Edition facts

Words 63,218
Reading time 275 min
Text sections 8

The Cruise of the Jasper B. — Text and Context can be approached with a clearer sense of reading commitment from its source measurements: 63,218 words, 4 hr 35 min estimated reading time, and 8 detected text sections.

The text analysis averages about 15.9 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 “Adventure stories,” connecting these edition facts with the source record’s subject description.

Don Marquis's adventure novel follows copy editor Clement J. Cleggett, whose inheritance of a decrepit schooner and a mysterious oblong box thrusts him into a world of pirates, duels, and romantic intrigue. The narrative shifts from mundane Brooklyn routine to high-seas melodrama, with a self-aware, playful tone.
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Editorial Edition Score 4.7/5

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  • 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.

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Read the Text

Cleggett had ceased to think of Uncle Tom as a possible factor in his life. He did not doubt that Uncle Tom had changed the will to gain some point with the officials of the temperance society, intending to change it once again after he had been deferred to, cajoled, and flattered enough to placate his vanity. But death had stepped in just in time to disinherit the enemies of the Demon Rum.

Cleggett read the wire through twice, and then folded it and put it into his pocket. He rose and walked toward the managing editor's room. As he stepped across the floor there was a little dancing light in his eyes, there was a faint smile upon his lips, that were quite foreign to the staid and sober Cleggett that the world knew. He was quiet, but he was almost jaunty, too; he felt a little drunk, and enjoyed the feeling.

He opened the managing editor's door with more assurance than he had ever displayed before. The managing editor, a pompous, tall, thin man with a drooping frosty mustache, and cold gray eyes in a cold gray face that somehow reminded one of the visage of a walrus, was preparing to go home.

"Well?" he said, shortly.

He was a man for whom Cleggett had long felt a secret antipathy. The man was, in short, the petty tyrant of Cleggett's little world.

"Can you spare me a couple of minutes, Mr. Wharton?" said Cleggett. But he did not say it with the air of a person who really sues for a hearing.

"Yes, yes--go on." Mr. Wharton, who had risen from his chair, sat down again. He was distinctly annoyed. He was ungracious. He was usually ungracious with Cleggett. His face set itself in the expression it always took when he declined to consider raising a man's salary. Cleggett, who had been refused a raise regularly every three months for the past two years, was familiar with the look.

"Go on, go on--what is it?" asked Mr. Wharton unpleasantly, frowning and stroking the frosty mustache, first one side and then the other.

"I just stepped in to tell you," said Cleggett quietly, "that I don't think much of the way you are running the Enterprise."

Wharton stopped stroking his mustache so quickly and so amazedly that one might have thought he had run into a thorn amongst the hirsute growth and pricked a finger. He glared. He opened his mouth. But before he could speak Cleggett went on:

"Three years ago I made a number of suggestions to you. You treated me contemptuously--very contemptuously!"

Cleggett paused and drew a long breath, and his face became quite red. It was as if the anger in which he could not afford to indulge himself three years before was now working in him with cumulative effect. Wharton, only partially recovered from the shock of Cleggett's sudden arraignment, began to stammer and bluster, using the words nearest his tongue:

"You d-damned im-p-pertinent------"

"Just a moment," Cleggett interrupted, growing visibly angrier, and seeming to enjoy his anger more and more. "Just a word more. I had intended to conclude my remarks by telling you that my contempt for YOU, personally, is unbounded. It is boundless, sir! But since you have sworn at me, I am forced to conclude this interview in another fashion."

And with a gesture which was not devoid of dignity Cleggett drew from an upper waistcoat pocket a card and flung it on Wharton's desk. After which he stepped back and made a formal bow.

Wharton looked at the card. Bewilderment almost chased the anger from his face.

"Eh," he said, "what's this?"

"My card, sir! A friend will wait on you tomorrow!"

"Tomorrow? A friend? What for?"

Cleggett folded his arms and regarded the managing editor with a touch of the supercilious in his manner.

"If you were a gentleman," he said, "you would have no difficulty in understanding these things. I have just done you the honor of challenging you to a duel."

Mr. Wharton's mouth opened as if he were about to explode in a roar of incredulous laughter. But meeting Cleggett's eyes, which were, indeed, sparkling with a most remarkable light, his jaw dropped, and he turned slightly pale. He rose from his chair and put the desk between himself and Cleggett, picking up as he did so a long pair of shears.

"Put down the scissors," said Cleggett, with a wave of his hand. "I do not propose to attack you now."

And he turned and left the managing editor's little office, closing the door behind him.

The novel opens not with a ship or a sword, but with a copy editor named Clement J. Cleggett settling into his nightly routine at the New York Enterprise. The prose lingers on the unremarkable details: a drab walking-stick, a sober office jacket, a green eyeshade, and the most ordinary of scissors. This deliberate accumulation of the mundane sets the stage for a transformation that is as much about narrative voice as about plot. When a telegram announces an inheritance, the story pivots sharply, and the reader is left to wonder whether the adventure that follows is real, imagined, or something in between.

From Copy Desk to Quarterdeck

The early chapters establish a rhythm of deliberate ordinariness. Cleggett’s actions are described with a deadpan precision: he “unostentatiously sat down at the copy desk, and unobtrusively opened a drawer.” The repetition of “un-” words (unostentatiously, unobtrusively) underscores a life defined by negation. Even his greeting—“H'lo, Jim”—is “average.” This voice, flat and slightly ironic, belongs to a narrator who enjoys undercutting expectations. When the telegram arrives, the shift is abrupt: Cleggett’s inheritance includes a schooner, the Jasper B., and a mysterious oblong box. The prose accelerates, but the narrator’s wry detachment remains, creating a tension between the absurdity of events and the calm reporting of them.

The Oblong Box and the Oath

As Cleggett supervises the unloading of the schooner’s hold, the narrative slows again to catalog the “junk” being removed. Every barrel is stove in, every bottle checked. The discovery of the oblong box—almost seven feet long, tightly nailed—is treated with the same matter-of-factness as the earlier copy-desk rituals. But the pace jolts when a character named Loge erupts in “a loud and violent oath; a veritable bellow of blasphemy.” The language here is deliberately theatrical: Loge “writhed in the grip of three men,” and his rage is described as “impotent” and “baffled.” The contrast between Cleggett’s methodical inspection and Loge’s explosive fury highlights the novel’s tonal range, from quiet observation to melodramatic action.

Pace and the Self-Aware Narrator

Throughout the excerpts, the narrator intrudes with asides that comment on the story’s own conventions. The phrase “the superficial observer! How many there are of him!” directly addresses the reader, breaking the fourth wall. Later, when Cleggett notes the resemblance between two oblong boxes, the narrator adds, “since all oblong boxes are bound to have a general resemblance,” a winking acknowledgment of the plot device. These moments of self-awareness modulate the pace, pulling the reader out of the action to consider the artifice. The result is a narrative that oscillates between earnest adventure and playful parody, never fully committing to either mode.

Readers should attend to the way Marquis uses the copy-desk setting as a foil for the later pirate theatrics. The novel’s humor often depends on the gap between Cleggett’s former life and his new one, and the narrator’s deadpan delivery is key to that effect. Pay particular attention to how objects—the walking-stick, the oblong box—recur and acquire symbolic weight, and how the story’s self-consciousness about its own genre shapes the reading experience.

Rain pattered against the window while I reread The Cruise of the Jasper B., smiling at Cleggett’s ridiculous duel over a lady’s honor. That playfulness lingered, reminding me how fiction often masks deeper worries. It made me think of another old book, where ailments and doctors hide their own truths behind clinical calm. I found myself reaching for Round the Red Lamp: Being Facts and Fancies of Medical Life — A Reader’s Guide later that same grey afternoon, almost without deciding to.

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