Mary Marie — Reading Notes
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For Mary Marie — Reading Notes, the stored edition analysis reports 74,801 words, 5 hr 26 min estimated reading time, and 6 detected text sections.
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Project Gutenberg metadata also associates the work with “Divorce -- Fiction,” connecting these edition facts with the source record’s subject description.
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Nurse said he looked at me, muttered, "Well, well, upon my soul!" again, and seemed really quite interested till they started to put me in his arms. Then he threw up both hands, backed off, and cried, "Oh, no, no!" He turned to Mother and hoped she was feeling pretty well, then he got out of the room just as quick as he could. And Nurse said that was the end of it, so far as paying any more attention to me was concerned for quite a while.
He was much more interested in his new star than he was in his new daughter. We were both born the same night, you see, and that star was lots more consequence than I was. But, then, that's Father all over. And that's one of the things, I think, that bothers Mother. I heard her say once to Father that she didn't see why, when there were so many, many stars, a paltry one or two more need to be made such a fuss about. And _I_ don't, either.
But Father just groaned, and shook his head, and threw up his hands, and looked _so_ tired. And that's all he said. That's all he says lots of times. But it's enough. It's enough to make you feel so small and mean and insignificant as if you were just a little green worm crawling on the ground. Did you ever feel like a green worm crawling on the ground? It's not a pleasant feeling at all.
Well, now, about the name. Of course they had to begin to talk about naming me pretty soon; and Nurse said they did talk a lot. But they couldn't settle it. Nurse said that that was about the first thing that showed how teetotally utterly they were going to disagree about things.
Mother wanted to call me Viola, after her mother, and Father wanted to call me Abigail Jane after his mother; and they wouldn't either one give in to the other. Mother was sick and nervous, and cried a lot those days, and she used to sob out that if they thought they were going to name her darling little baby that awful Abigail Jane, they were very much mistaken; that she would never give her consent to it--never. Then Father would say in his cold, stern way: "Very well, then, you needn't. But neither shall I give my consent to my daughter's being named that absurd Viola. The child is a human being--not a fiddle in an orchestra!"
And that's the way it went, Nurse said, until everybody was just about crazy. Then somebody suggested "Mary." And Father said, very well, they might call me Mary; and Mother said certainly, she would consent to Mary, only she should pronounce it Marie. And so it was settled. Father called me Mary, and Mother called me Marie. And right away everybody else began to call me Mary Marie. And that's the way it's been ever since.
Of course, when you stop to think of it, it's sort of queer and funny, though naturally I didn't think of it, growing up with it as I did, and always having it, until suddenly one day it occurred to me that none of the other girls had two names, one for their father, and one for their mother to call them by. I began to notice other things then, too. Their fathers and mothers didn't live in rooms at opposite ends of the house. Their fathers and mothers seemed to like each other, and to talk together, and to have little jokes and laughs together, and twinkle with their eyes. That is, most of them did.
And if one wanted to go to walk, or to a party, or to play some game, the other didn't always look tired and bored, and say, "Oh, very well, if you like." And then both not do it, whatever it was. That is, I never saw the other girls' fathers and mothers do that way; and I've seen quite a lot of them, too, for I've been at the other girls' houses a lot for a long time. You see, I don't stay at home much, only when I have to. We don't have a round table with a red cloth and a lamp on it, and children 'round it playing games and doing things, and fathers and mothers reading and mending. And it's lots jollier where they do have them.
Nurse says my father and mother ought never to have been married. That's what I heard her tell our Bridget one day. So the first chance I got I asked her why, and what she meant.
"Oh, la! Did you hear that?" she demanded, with the quick look over her shoulder that she always gives when she's talking about Father and Mother. "Well, little pitchers do have big ears, sure enough!"
"Little pitchers," indeed! As if I didn't know what that meant! I'm no child to be kept in the dark concerning things I ought to know. And I told her so, sweetly and pleasantly, but with firmness and dignity. I made her tell me what she meant, and I made her tell me a lot of other things about them, too. You see, I'd just decided to write the book, so I wanted to know everything she could tell me. I didn't tell her about the book, of course. I know too much to tell secrets to Nurse Sarah! But I showed my excitement and interest plainly; and when she saw how glad I was to hear everything she could tell, she talked a lot, and really seemed to enjoy it, too.
You see, she was here when Mother first came as a bride, so she knows everything. She was Father's nurse when he was a little boy; then she stayed to take care of Father's mother, Grandma Anderson, who was an invalid for a great many years and who didn't die till just after I was born. Then she took care of me. So she's always been in the family, ever since she was a young girl. She's awfully old now--'most sixty.
First I found out how they happened to marry--Father and Mother, I'm talking about now--only Nurse says she can't see yet how they did happen to marry, just the same, they're so teetotally different.
But this is the story.
Father went to Boston to attend a big meeting of astronomers from all over the world, and they had banquets and receptions where beautiful ladies went in their pretty evening dresses, and my mother was one of them. (Her father was one of the astronomers, Nurse said.) The meetings lasted four days, and Nurse said she guessed my father saw a lot of my mother during that time. Anyhow, he was invited to their home, and he stayed another four days after the meetings were over. The next thing they knew here at the house, Grandma Anderson had a telegram that he was going to be married to Miss Madge Desmond, and would they please send him some things he wanted, and he was going on a wedding trip and would bring his bride home in about a month.
It was just as sudden as that. And surprising!--Nurse says a thunderclap out of a clear blue sky couldn't have astonished them more. Father was almost thirty years old at that time, and he'd never cared a thing for girls, nor paid them the least little bit of attention. So they supposed, of course, that he was a hopeless old bachelor and wouldn't ever marry. He was bound up in his stars, even then, and was already beginning to be famous, because of a comet he'd discovered. He was a professor in our college here, where his father had been president. His father had just died a few months before, and Nurse said maybe that was one reason why Father got caught in the matrimonial net like that. (Those are _her_ words, not mine. The idea of calling my mother a net! But Nurse never did half appreciate Mother.) But Father just worshipped his father, and they were always together--Grandma being sick so much; and so when he died my father was nearly beside himself, and that's one reason they were so anxious he should go to that meeting in Boston. They thought it might take his mind off himself, Nurse said. But they never thought of its putting his mind on a wife!
So far as his doing it right up quick like that was concerned, Nurse said that wasn't so surprising. For all the way up, if Father wanted anything he insisted on having it, and having it right away then. He never wanted to wait a minute. So when he found a girl he wanted, he wanted her right then, without waiting a minute. He'd never happened to notice a girl he wanted before, you see. But he'd found one now, all right; and Nurse said there was nothing to do but to make the best of it, and get ready for her.
There wasn't anybody to go to the wedding. Grandma Anderson was sick, so of course she couldn't go, and Grandpa was dead, so of course he couldn't go, and there weren't any brothers or sisters, only Aunt Jane in St. Paul, and she was so mad she wouldn't come on. So there was no chance of seeing the bride till Father brought her home.
Nurse said they wondered and wondered what kind of a woman it could be that had captured him. (I told her I wished she _wouldn't_ speak of my mother as if she was some kind of a hunter out after game; but she only chuckled and said that's about what it amounted to in some cases.) The very idea!
The whole town was excited over the affair, and Nurse Sarah heard a lot of their talk. Some thought she was an astronomer like him. Some thought she was very rich, and maybe famous. Everybody declared she must know a lot, anyway, and be wonderfully wise and intellectual; and they said she was probably tall and wore glasses, and would be thirty years old, at least. But nobody guessed anywhere near what she really was.
Nurse Sarah said she should never forget the night she came, and how she looked, and how utterly flabbergasted everybody was to see her--a little slim eighteen-year-old girl with yellow curly hair and the merriest laughing eyes they had ever seen. (Don't I know? Don't I just love Mother's eyes when they sparkle and twinkle when we're off together sometimes in the woods?) And Nurse said Mother was so excited the day she came, and went laughing and dancing all over the house, exclaiming over everything. (I can't imagine that so well. Mother moves so quietly now, everywhere, and is so tired, 'most all the time.) But she wasn't tired then, Nurse says--not a mite.
"But how did Father act?" I demanded. "Wasn't he displeased and scandalized and shocked, and everything?"
Nurse shrugged her shoulders and raised her eyebrows--the way she does when she feels particularly superior. Then she said:
"Do? What does any old fool--beggin' your pardon an' no offense meant, Miss Mary Marie--but what does any man do what's got bejuggled with a pretty face, an' his senses completely took away from him by a chit of a girl? Well, that's what he did. He acted as if he was bewitched. He followed her around the house like a dog--when he wasn't leadin' her to something new; an' he never took his eyes off her face except to look at us, as much as to say: 'Now ain't she the adorable creature?'"
"My father did that?" I gasped. And, really, you know, I just couldn't believe my ears. And you wouldn't, either, if you knew Father. "Why, _I_ never saw him act like that!"
"No, I guess you didn't," laughed Nurse Sarah with a shrug. "And neither did anybody else--for long."
"But how long did it last?" I asked.
"Oh, a month, or maybe six weeks," shrugged Nurse Sarah. "Then it came September and college began, and your father had to go back to his teaching. Things began to change then."
"Right then, so you could see them?" I wanted to know.
Nurse Sarah shrugged her shoulders again.
"Oh, la! child, what a little question-box you are, an' no mistake," she sighed. But she didn't look mad--not like the way she does when I ask why she can take her teeth out and most of her hair off and I can't; and things like that. (As if I didn't know! What does she take me for--a child?) She didn't even look displeased--Nurse Sarah _loves_ to talk. (As if I didn't know that, too!) She just threw that quick look of hers over her shoulder and settled back contentedly in her chair. I knew then I should get the whole story. And I did. And I'm going to tell it here in her own words, just as well as I can remember it--bad grammar and all. So please remember that I am not making all those mistakes. It's Nurse Sarah.
I guess, though, that I'd better put it into a new chapter. This one is yards long already. How _do_ they tell when to begin and end chapters? I'm thinking it's going to be some job, writing this book--diary, I mean. But I shall love it, I know. And this is a _real_ story--not like those made-up things I've always written for the girls at school.
And this is Nurse Sarah's story.
As I said, I'm going to tell it straight through as near as I can in her own words. And I can remember most of it, I think, for I paid very close attention.
"Well, yes, Miss Mary Marie, things did begin to change right there an' then, an' so you could notice it. _We_ saw it, though maybe your pa an' ma didn't, at the first.
"You see, the first month after she came, it was vacation time, an' he could give her all the time she wanted. An' she wanted it all. An' she took it. An' he was just as glad to give it as she was to take it. An' so from mornin' till night they was together, traipsin' all over the house an' garden, an' trampin' off through the woods an' up on the mountain every other day with their lunch.
"You see she was city-bred, an' not used to woods an' flowers growin' wild; an' she went crazy over them. He showed her the stars, too, through his telescope; but she hadn't a mite of use for them, an' let him see it good an' plain. She told him--I heard her with my own ears--that his eyes, when they laughed, was all the stars she wanted; an' that she'd had stars all her life for breakfast an' luncheon an' dinner, anyway, an' all the time between; an' she'd rather have somethin' else, now--somethin' alive, that she could love an' live with an' touch an' play with, like she could the flowers an' rocks an' grass an' trees.
"Angry? Your pa? Not much he was! He just laughed an' caught her 'round the waist an' kissed her, an' said she herself was the brightest star of all. Then they ran off hand in hand, like two kids. An' they _was_ two kids, too. All through those first few weeks your pa was just a great big baby with a new plaything. Then when college began he turned all at once into a full-grown man. An' just naturally your ma didn't know what to make of it.
"He couldn't explore the attic an' rig up in the old clothes there any more, nor romp through the garden, nor go lunchin' in the woods, nor none of the things _she_ wanted him to do. He didn't have time. An' what made things worse, one of them comet-tails was comin' up in the sky, an' your pa didn't take no rest for watchin' for it, an' then studyin' of it when it got here.
"An' your ma--poor little thing! I couldn't think of anything but a doll that was thrown in the corner because somebody'd got tired of her. She _was_ lonesome, an' no mistake. Anybody'd be sorry for her, to see her mopin' 'round the house, nothin' to do. Oh, she read, an' sewed with them bright-colored silks an' worsteds; but 'course there wasn't no real work for her to do. There was good help in the kitchen, an' I took what care of your grandma was needed; an' she always gave her orders through me, so I practically run the house, an' there wasn't anything _there_ for her to do.
"An' so your ma just had to mope it out alone. Oh, I don't mean your pa was unkind. He was always nice an' polite, when he was in the house, an' I'm sure he meant to treat her all right. He said yes, yes, to be sure, of course she was lonesome, an' he was sorry. 'T was too bad he was so busy. An' he kissed her an' patted her. But he always began right away to talk of the comet; an' ten to one he didn't disappear into the observatory within the next five minutes. Then your ma would look so grieved an' sorry an' go off an' cry, an' maybe not come down to dinner, at all.
"Well, then, one day things got so bad your grandma took a hand. She was up an' around the house, though she kept mostly to her own rooms. But of course she saw how things was goin'. Besides, I told her--some. 'T was no more than my duty, as I looked at it. She just worshipped your pa, an' naturally she'd want things right for him. So one day she told me to tell her son's wife to come to her in her room.
"An' I did, an' she came. Poor little thing! I couldn't help bein' sorry for her. She didn't know a thing of what was wanted of her, an' she was so glad an' happy to come. You see, she _was_ lonesome, I suppose.
"'Me? Want me?--Mother Anderson?' she cried. 'Oh, I'm so glad!' Then she made it worse by runnin' up the stairs an' bouncin' into the room like a rubber ball, an' cryin': 'Now, what shall I do, read to you, or sing to you, or shall we play games? I'd _love_ to do any of them!' Just like that, she said it. I heard her. Then I went out, of course, an' left them. But I heard 'most everything that was said, just the same, for I was right in the next room dustin', and the door wasn't quite shut.
"First your grandmother said real polite--she was always polite--but in a cold little voice that made even me shiver in the other room, that she did not desire to be read to or sung to, and that she did not wish to play games. She had called her daughter-in-law in to have a serious talk with her. Then she told her, still very polite, that she was noisy an' childish, an' undignified, an' that it was not only silly, but very wrong for her to expect to have her husband's entire attention; that he had his own work, an' it was a very important one. He was going to be president of the college some day, like his father before him; an' it was her place to help him in every way she could--help him to be popular an' well-liked by all the college people an' students; an' he couldn't be that if she insisted all the time on keepin' him to herself, or lookin' sour an' cross if she couldn't have him.
"Of course that ain't all she said; but I remember this part particular on account of what happened afterward. You see--your ma--she felt awful bad. She cried a little, an' sighed a lot, an' said she'd try, she really would try to help her husband in every way she could; an' she wouldn't ask him another once, not once, to stay with her. An' she wouldn't look sour an' cross, either. She'd promise she wouldn't. An' she'd try, she'd try, oh, so hard, to be proper an' dignified.
"She got up then an' went out of the room so quiet an' still you wouldn't know she was movin'. But I heard her up in her room cryin' half an hour later, when I stopped a minute at her door to see if she was there. An' she was.
The narrator of Mary Marie announces herself as a 'cross-current and a contradiction,' a phrase she borrows from her old nurse, Sarah. At thirteen, she is about to live six months with her father and six with her mother, following their divorce. She decides to turn this arrangement into a book disguised as a diary—because her father approves of diaries but not novels. The opening pages establish a voice that is at once naive and shrewd, excited by the novelty of divorce and already calculating how to adapt to two different sets of expectations.
A Voice Split in Two
The narrator’s language shifts depending on which parent she is with. When she is 'Mary'—her father’s name for her—she adopts a more restrained, dutiful tone, noting the weather and her daily tasks as he would wish. When she is 'Marie,' with her mother, her sentences grow longer, more playful, and full of social observation. She records her mother’s suitors with a mixture of childish candor and adult mimicry: the violinist is 'thrilling,' while Mr. Easterbrook is 'estimable' and 'comfortable to live with.' The contrast is not just in content but in syntax—Marie’s entries include dashes, exclamations, and asides that Mary’s do not. Porter uses this stylistic split to dramatize the internal conflict of a child forced to be two people.
Pace and the Diary Form
The diary structure creates a stop-and-start rhythm. Entries are dated but irregular, sometimes skipping days or weeks. The narrator comments on the gaps herself: 'I haven't heard from Father. Now just my writing that down that way shows that I expected to hear from him.' This self-awareness about the act of writing slows the narrative, forcing the reader to attend to what is left unsaid. When the pace quickens—as in the flurry of observations about Mother’s suitors—the effect is one of mounting anxiety. The narrator’s excitement about being 'different' gives way to a quieter worry about where she belongs. The diary form allows Porter to modulate speed through entry length and frequency, making the emotional arc felt in the gaps between pages.
Recurring Details as Anchors
Certain details recur across the excerpts, grounding the narrator’s shifting identity. The phrase 'by order of the court' appears multiple times, each time with a slightly different inflection—first as a novelty, later as a bitter joke. The observatory, where her father once seemed 'nice,' becomes a symbol of a lost, more tender version of him. The narrator’s habit of evaluating men through the lens of Aunt Hattie’s opinions shows how adult judgments seep into her own voice. These repeated elements create a thread of continuity in a life that is otherwise split in two. They also hint at the narrator’s growing awareness that her parents’ divorce is not an adventure but a permanent rearrangement of her world.
The Limits of the Child’s View
The excerpts end before the narrator’s story is complete. We do not learn which suitor her mother chooses, whether her father writes back, or how the six-month arrangement actually works. What is clear is that the narrator’s voice, for all its confidence, is limited by her age and position. She reports what she overhears and infers motives from gestures—Aunt Hattie’s 'flushed up and bit her lip'—but she cannot fully grasp the adult tensions around her. Porter leaves the reader to read between the lines, trusting that the gaps in the diary are as telling as the entries themselves.
Readers should pay attention to what the narrator does not say. The diary form invites us to notice omissions—the missing letters from Father, the skipped days, the moments when the narrator stops herself mid-sentence. Porter’s skill lies in making the child’s voice both transparent and opaque, revealing more than the narrator intends. The book rewards a slow reading that tracks these silences alongside the exuberant chatter.
I remembered reading this as a girl, how Mary and Marie felt like two separate rooms I’d wandered between myself. That split self—still whole, somehow—reminded me of the quiet way Ruggles of Red Gap — Text and Context let a man become someone else just by changing his address. We carry our other selves like loose change, jingling softly.
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