Tubal Cain — Text and Context

(0 User reviews)   950
Hergesheimer, Joseph, 1880-1954 Project Gutenberg 2016 Not confirmed
Pennsylvania -- Fiction; Executives -- Fiction; Blast furnaces -- Fiction Readers of public-domain and historical texts
Project Gutenberg digital edition en

Edition facts

Words 33,105
Reading time 144 min
Text sections 4

The source record for Tubal Cain — Text and Context measures this digital text at 33,105 words, 2 hr 24 min estimated reading time, and 4 detected text sections.

The text analysis averages about 17.9 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 “Pennsylvania -- Fiction,” connecting these edition facts with the source record’s subject description.

Joseph Hergesheimer's novel follows Alexander Hulings, a failed lawyer in Pennsylvania who abandons his practice to manage a blast furnace. The excerpts trace his transformation through a duel, a marriage, and the building of a mansion, with a focus on his internal turmoil and the industrial setting.
Share
Editorial Edition Score 4.5/5

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.

Edition quality

Read the Text

had frowned out of his whiskers.

“What you need,” the doctor had decided, “is a complete change. You are strung up. Go away. Forget the law for two or three months. The Mineral is the place for you.”

Alexander Hulings couldn't afford a month or more at the Mineral Spring; and he had said so with the sharpness that was one of the annoying symptoms of his condition. He had had several letters, though, throughout a number of years, from James Claypole, a cousin of his mother, asking him out to Tubal Cain, the iron forge which barely kept Claypole alive; and he might manage that—if it were not for Hallie Flower. There the conversation had come to an inevitable conclusion.

Now, in a flurry of violence that was, nevertheless, the expression of complete purpose, he had ended his practice, his only livelihood; and that would—must—end Hallie.

He had been engaged to her from the day when, together, they had, with a pretense of formality, opened his office in Eastlake. He had determined not to marry until he made a thousand dollars in a year; and, as year after year slipped by without his accumulating that amount, their engagement had come to resemble the unemotional contact of a union without sex. Lately Hallie had seemed almost content with duties in her parental home and the three evenings weekly that Alexander spent with her in the formal propriety of a front room.

His own feelings defied analysis; but it seemed to him that, frankly surveyed, even his love for Hallie Flower had been swallowed up in the tide of irritability rising about him. He felt no active sorrow at the knowledge that he was about to relinquish all claim upon her; his pride stirred resentfully; the evening promised to be uncomfortable—but that was all.

The room swam about him in a manner that had grown hatefully familiar; he swayed in his chair; and his hands were at once numb with cold and wet with perspiration. A sinking fear fastened on him, an inchoate dread that he fought bitterly. It wasn't death from which Alexander Hulings shuddered, but a crawling sensation that turned his knees to dust. He was a slight man, with narrow shoulders and close-swinging arms, but as rigidly erect as an iron bar; his mentality was like that too, and he particularly detested the variety of nerves that had settled on him.

A form blocked the doorway, accentuating the dusk that had swiftly gathered in the office, and Veneada entered. His neckcloth was, as always, carelessly folded, and his collar hid in rolls of fat; a cloak was thrown back from a wide girth, and he wore an incongruous pair of buff linen trousers.

“What's this—mooning in the dark?” he demanded. “Thought you hadn't locked the office door. Come out; fill your lungs with the spring and your stomach with supper.”

Without reply, Alexander Hulings followed the other into the street.

“I am going to Hallie's,” he said in response to Veneada's unspoken query.

Suddenly he felt that he must conclude everything at once and get away; where and from what he didn't know. It was not his evening to see Hallie and she would be surprised when he came up on the step. The Flowers had supper at five; it would be over now, and Hallie finished with the dishes and free. Alexander briefly told Veneada his double decision.

“In a way,” the other said, “I'm glad. You must get away for a little anyway; and you are accomplishing nothing here in Eastlake. You are a rotten lawyer, Alexander; any other man would have quit long ago; but your infernal stubbornness held you to it. You are not a small-town man. You see life in a different, a wider way. And if you could only come on something where your pigheadedness counted there's no saying where you'd reach. I'm sorry for Hallie; she's a nice woman, and you could get along well enough on nine hundred——”

“I said I'd never marry until I made a thousand in a year,” Hulings broke in, exasperated.

“Good heavens! Don't I know that?” Veneada replied. “And you won't, you—you mule! I guess I've suffered enough from your confounded character to know what it means when you say a thing. I think you're right about this. Go up to that fellow Claypole and show him what brittle stuff iron is compared to yourself. Seriously, Alex, get out and work like the devil at a heavy job; go to bed with your back ruined and your hands raw. You know I'll miss you—means a lot to me, best friend.”

The novel opens with Alexander Hulings sitting in a dingy law office, staring at a white plaster wall. The description is precise: a green-baize table, a hickory chair, a small banjo clock with a picture of the Exchange at Manchester. Hulings has just calculated his annual earnings—something over nine hundred dollars—and at thirty-four, he confronts failure. He tears down his sign, a violent gesture that ends his legal career. The prose lingers on sensory details: a sweet breath of flowering magnolia, the light growing tender, footfalls sounding far away. This opening establishes a man at a breaking point, and the industrial world of Tubal Cain will test him further.

A Lawyer's Reckoning

The first excerpt shows Hulings in a state of concentrated gloom. He has practiced law for seven or nine years, detesting its circuitous trivialities. The figures on a scrap of paper—nine hundred dollars—drum failure into his brain. Two other actualities add to his gloom: Hallie Flower and his health. The prose is tight, almost claustrophobic, as Hulings sits motionless for hours. When he finally moves, he rips the sign from its place and flings it away. The act is unpremeditated, even by himself. This moment marks a decisive break, but the narrative does not immediately reveal what comes next. The reader is left with the sense that Hulings is shedding an old identity, but the new one remains undefined.

The Duel and Its Aftermath

In a later excerpt, Hulings finds himself in a duel. The scene is set at a hotel, with a polished mahogany box containing long pistols with silken-brown barrels. Partridge Sinnox, a notorious fighter, fires point-blank at Hulings but misses. Hulings then produces a small derringer and shoots Sinnox dead. The prose captures Hulings's detachment: he wonders slowly at being unhit, and afterward feels a sudden horror and weakness. Driving back to Tubal Cain, he tells his coachman, Mordecai, what he has done. The negro is unmoved, asserting that any man fooling around Hulings is bound to be killed. This episode reveals a capacity for violence that contrasts with the earlier passive despair. It also introduces the industrial setting of Tubal Cain, the blast furnace that will become central to the story.

Building the Mansion

After the duel, Hulings devotes himself to finishing a mansion above Tubal Cain. The house is described as an uncompromising, square edifice of brick, with a railed belvedere on the roof and a front lawn enclosed by a fence. The prose here is more straightforward, focusing on the physical construction. The mansion seems to represent a new beginning, a tangible assertion of success. But the narrative does not explain how Hulings came to own the blast furnace or how he acquired the wealth to build such a house. The reader must infer that his transformation is underway, but the excerpts leave gaps. The industrial world of Tubal Cain—the blast furnace itself—remains in the background, a presence that shapes the story without being fully described in these passages.

Voice and Recurring Details

Hergesheimer's prose is marked by precise physical details and a restrained emotional register. The opening scene is filled with objects: the green-baize table, the hickory chair, the steel engraving of Chief Justice Marshall. These details ground the story in a specific time and place. The dialogue is sparse but revealing. When Hulings tells Mordecai about the shooting, the coachman's response—'Man 'at fool round you, he's bound to be killed!'—is both matter-of-fact and darkly humorous. The narrative voice shifts between close third-person and a more detached observation. Hulings's internal state is often conveyed through physical actions: he swallows dryly, his fingers are cold and numb, he rubs them together angrily. These small gestures accumulate to create a portrait of a man under pressure.

The excerpts from Tubal Cain offer a fragmented view of Alexander Hulings's journey from failed lawyer to industrialist. The opening, middle, and later passages each capture a different phase: despair, violence, and construction. Readers should pay attention to the gaps between these scenes—the missing steps that connect them. The industrial setting of the blast furnace is a constant but largely unseen presence, and its role in Hulings's transformation is hinted at rather than explained. This novel rewards attention to its precise prose and the subtle shifts in its protagonist's character.

Sometimes I think of Alexander Hulings at his furnace, that heavy iron heat forging something calmer within him, and I recall the gentle tide of Pearl-Fishing; Choice Stories from Dickens' Household Words; Second Series — Background and Themes. Both whisper of quiet labor—one in metal, one in words—and how a soul finds its footing not in grand gestures, but in the steady, unhurried work of living. They sit together well on a shelf.

There are no reviews for this eBook.

0
0 out of 5 (0 User reviews )

Add a Review

Your Rating *
There are no comments for this eBook.

Reader reflection

Record your reading impressions

A brief reflection can help important ideas stay with you longer.

Your progress 0 / 10
1

What is your current status with this title?

2

How much did you enjoy the reading experience?

3

Would you encourage someone else to read it?

4

How much effort did this book require?

Related eBooks