Cutie: A Warm Mamma — Text and Context
Edition facts
This digital edition of Cutie: A Warm Mamma — Text and Context is described by source-level measurements including 10,805 words, 47 min estimated reading time, and 12 detected text sections.
The text analysis averages about 16.2 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 “Satire,” 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.
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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.
Read the Text
Her bobbed hair looked like a bunch of yellow grapes. She offered an eyeful which would make a brass monkey run a temperature of 209 degrees.
When Cutie hit the boulevard on a breezy afternoon she left a row of asterisks in her wake.
After one look at our little Enemy of Sorrows, men were never the same. Forever after they kissed their wives and sweethearts with faraway eyes. No gent under 104 years of age was fit to pass the Board of Censorship for eight weeks after Cutie smiled on him.
Cutie gave St. Peter writer’s cramps before she was eighteen. After she was eighteen St. Peter crossed her name out of the Judgement Book. Not taking any chances, he also threw away her telephone number.
Nevertheless our little butterfly of passion was as evil to look at as a spring morning.
Where Cutie was born and how nobody knew. All that anybody knew about our little Blue Ribbon roadster was that she had the moth complex. Every night Cutie burned her wings off and every morning she grew them on again.
To be very brief, Cutie was the kind of a girl men forget, forty-nine years after their widows have collected the Insurance.
_Introducing Little Casino and the Plugged Nickel_
On her twenty-first birthday, this warm mamma met an over ripe quince who had been named Herman Pupick by his unfortunate parents. A word about Herman. Our hero was one of triplets. His father, Rudolph Pupick, a traveling salesman, rushed home from Milwaukee when he got the tidings.
After looking over the year’s crop, Mr. Pupick, Sr., said: “We’ll keep this one and drown the other two.” The one he kept was Herman. This was a mean break.
Our hero showed his disposition at an early age. He was a wet smack from the take off. When he was five months old he refused to nurse at his mother’s breast. He considered it immoral and obscene.
Before little Herman was nine years old, everybody knew he was the lily’s whiskers. He grew up to be one of those fireproof crepe hangers, who take orders only from God, and he married an autumn leaf named Emmaline, suffering from virginity.
When he was thirty-five years old the only flesh pots Herman had ever seen were those his wife tended on the kitchen stove. He had been married ten years and every night before sliding into the hay he and the dementia praecox case who shared his headaches would kneel beside their thorny couch and request God to keep them pure. And He did.
Herman himself was so pure that he cancelled his subscription to the Presbyterian Weekly during the War owing to a headline which appeared in that racy organ on March 3, 1917. The headline read, “Naval Maneuvers Described by Eye Witness.” Our right hand of God considered this headline too suggestive for an organ intended for the home.
This pious dingelberry had only one eye. The other one was made of glass. It cost seven dollars and a half and was painted green.
The way our hero lost his gig was like this. On the seventh anniversary of his wedding Herman brought home a quart of plain white ice cream.
“Tonight,” said Herman, “is the seventh anniversary of our joint fight against the Devil. It is, therefore, fitting that we should make merry.”
So they ate the ice cream, although Mrs. Pupick complained it gave her a headache. After this part of the bridal night had been relieved, Herman challenged his consort to a game of Tiddlywinks.
In the heat of this game, Mrs. Pupick snapped one of the tiddlywinks with unusual vigor, for marriage had not taken the fire out of her, and it flew into Herman’s lamp and put it out.
“God,” said our one-eyed Pilgrim, as he shelled out the seven and a half smackers for a new gig, “has smote me for my sins.” This was fair enough.
A few more words are necessary about Herman Pupick before launching into this great drama of sin and passion, to illustrate our hero’s ignorance of the world and its alleged humans. Herman thought that a brassiere was something to melt lead in; that bloomers was a slang term which meant a series of mistakes; that torso was the name of a notorious Spanish bullfighter and that passion was what happened when a carpenter hit his thumb with a hammer.
What, you ask, did this big ham do for a living? Stand back, kind reader, control yourself. Herman Pupick was a reformer. He was employed by the United States of America for $29 a week to plug up all the pitfalls of the great city.
The preface by Maxwell Bodenheim frames Cutie: A Warm Mamma as a direct satire on “ultra-prudish hypocritical censors and assailers of sexual candor.” Originally serialized in the Chicago Literary Times in 1924, the work targets both official and amateur crusaders for “cleanliness and righteousness.” The authors’ stated method is to treat the censor’s fig leaf as “ludicrously transparent,” directing attention to what it hides. This editorial stance is crucial: the book is not a general social comedy but a pointed, period-specific attack on suppression of artistic expression.
The Censor as Comic Butt
The excerpts center on Herman Pupick, a “celebrated censor and reformer” whose physical and moral indignities drive the humor. Upon waking in lavender pajamas, he is described as “a cross between a chop suey pedlar and the inside of an Odd Fellow’s coffin.” His zeal is deflated by Cutie’s deadpan mockery: she calls him “poison ivy” and threatens to “play taps on your skull with this crowbar.” The satire operates through bodily comedy—Herman sinks his “false teeth into her ankle”—rather than argument. The catalog subject “Satire” is borne out, but the excerpts show a farce that relies on slapstick and verbal deflation, not subtle irony.
Cutie’s Voice and the Limits of the Excerpts
Cutie speaks in a vernacular that mixes theatrical slang and blunt dismissal: “My Gawd, he’s gone cuckoo again.” Her entrance is described as “a little overdressed for a Ziegfield chorus, but nobody in their right mind would have barred her out of a school for the blind.” The excerpts present her as a pragmatic foil to Herman’s ranting, but they do not reveal her backstory or motives. The catalog subject “Man-woman relationships” is present only in the farcical power struggle—Herman declares Cutie his “inspiration” while she threatens him with a crowbar. Readers should note that the excerpts offer no romantic development; the relationship remains a comic standoff.
Reformers and the Objects of Their Ire
A key scene has Herman, wounded, spotting on a table “all the books he had suppressed in the last ten years.” He tears them to shreds, leaving the room “as if a nanny goat had been sleeping in it.” The catalog subject “Reformers” is thus literalized: Herman’s reform is a destructive, almost animalistic impulse. The preface’s claim that censors “fashion would-be ugly effigies” is dramatized here. Yet the excerpts do not name any specific suppressed works or real-world targets, so the satire remains generalized. The humor depends on recognizing the type—the self-righteous censor—rather than specific historical referents.
The excerpts reveal a work that is more physical farce than intellectual debate, despite the preface’s theoretical framing. Readers expecting a sustained argument about censorship will find instead a series of comic set-pieces built on Herman’s humiliation and Cutie’s irreverence. The brevity of the text (about 10,800 words) and its serial origins suggest a quick, episodic read. Approach it as a period satire that uses broad comedy to needle a specific target: the official and unofficial enforcers of literary propriety in 1920s America.
That old Cutie satire stayed with me—not for the jokes, but for how gently it ached around all that noise, all that pretending. It made me think of the quieter sorrow in The Great Accident — Themes and Context, where lives just miss each other. Both left me sitting still, feeling the weight of what we don’t say out loud.
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