Object, Matrimony — Key Ideas to Explore

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Bower, B. M., 1871-1940 Project Gutenberg 2022 Not confirmed
Short stories; Western stories; Montana -- Fiction Readers of public-domain and historical texts
Project Gutenberg digital edition en

Edition facts

Words 7,489
Reading time 33 min
Text sections 1

The source record for Object, Matrimony — Key Ideas to Explore measures this digital text at 7,489 words, 33 min estimated reading time, and 1 detected text section.

The text analysis averages about 22.4 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 “Short stories,” connecting these edition facts with the source record’s subject description.

In B. M. Bower's comic western short story, cowboy narrator Bud Preston recounts the disastrous honeymoon of his boss Shooting-star Wilson, whose garish ten-thousand-dollar house drives away his new bride within hours.
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Editorial Edition Score 4.3/5

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Read the Text

We played for awhile, and kinda forgot the subject, when the Old Man breaks out in a new spot.

“Boys,” he says, “listen to this once:

“A bright, loving, sensible young lady, with some means, would like to correspond with affectionate, honorable gentleman; one with some country property preferred. Must be sober, honest, and willing to make a good and loving husband. No trifler need answer this, or widower. Object, matrimony.

He looked at us expectant, and waited for somebody to say something.

“Three,” said Ellis, looking at me.

“Pitch it,” said I; and he played the deuce uh spades.

Shooting-star grunted. “Anyway, I ain’t no trifler, and I ain’t a widower,” he said, like we’d been arguing the point with him, and had raised doubts of his being able to qualify.

“Which it’s a cinch you’ll wish yuh was,” remarked Ellis, without looking up.

“And I’m there with the goods when it comes to country property,” said Shooting-star, looking at us both kinda anxious. I seen him out uh the tail uh my eye.

“And you’re shore affectionate and honorable,” put in Ellis, sarcastic. Ellis hadn’t forgot the slur on his cake. “And you’re some sober—by spells.”

Shooting-star rose up and looked fighty. “There’s times, young feller, when punching would do yuh good,” he snarls, malignant.

“Yes, sir, punching would do yuh good; and if yuh don’t calm down and have some manners about yuh, it’s apt to happen. If you can lay your finger on a time when I was too full to walk straight, I’d sure admire to have yuh. She says _sober_, which means walking straight and being able to find the door. She don’t say I’ve got to be a darned pro’bitionist, does she? Hey? And I guess I could be some affectionate—if I had any call to be. And I ain’t no trifler. If I answered her ad I’d mean business. And I ain’t a widower. She’s bright, and lovin’, and sensible—and them brands sure look good to me. I’d sure love to have somebody in the house with sense!”

“Well,” grins Ellis, “go after it, old-timer. But while Bud and me mayn’t have much sense, yuh want to bear in mind that we’re sure bright and loving.”

“Loving!” snorts Shooting-star, and went to spelling out the ad again in a whisper.

Next morning Shooting-star saddled up and rode off to Bent Willow mysterious. He wasn’t gone long, and he didn’t bring nothing back—not even a jag; so Ellis and me frames it up between us that he’s up and wrote to that bright, loving, sensible young lady that’s hankering for a loving husband. Still, we don’t know nothing for sure, because Shooting-star gets plumb silent on the subject, and all the hints we throw out don’t bring results of any kind.

Ellis and me kinda worried over it, only we wouldn’t let on. But one thing looked bad, and that was, Shooting-star would set by the hour humped up in front uh the fireplace, reading over that advertisement, and kinda dreaming and letting his pipe go cold. And then he’d come alive and cast his eyes around that big razzle-dazzle room, and at the ten-by-twelve foot picture uh George Washington—only it looked like a Cree squaw with her hair braided down her back—on the wall, and he’d rub his knees and nod his head, like somebody had just passed out a bunch uh hot air about his good taste in fixing up a house. It all looked plumb dubious to Ellis and me.

Next deal Ellis brought out a letter for Shooting-star, and showed me where it was postmarked “Plumville, Illinois,” and was in a woman’s handwriting. “It’s from her, all right,” he says. “L. A.—Lonesome Ann. Shall I ditch it, for the good of old Shooting-star’s soul, Bud, or shall I hand it over and let ’er slide?”

Honest, I come blame near telling him to ditch it, and say nothing. But when yuh come to think uh the way they come down on yuh with both feet if yuh go monkeying with the mails, even the good of the Old Man wouldn’t hardly be worth playing the game out. So I told Ellis he better give up the letter, and not butt into no romance—if romance it was to be. Ellis took the letter in and handed it over to Shooting-star, and Shooting-star kinda breathed long and easy, and turned it over and over in his hands, like it assayed pure gold.

B. M. Bower's "Object, Matrimony" is narrated by cowboy Bud Preston, who speaks in a colloquial, drawling voice full of dry humor and ranch-hand wisdom. The story opens with Bud's cynical take on women and marriage: "Women are all right—if yuh keep far enough away from them." This sets the tone for a tale that is less about romance than about the clash between domestic expectations and the absurd reality of the Hall of Mirth, a house built for a Washington's Birthday ball that features red, white, and blue diamond-painted floors and stars-and-stripes ceilings.

The catalog subjects list this as a Western story set in Montana, but the excerpts reveal a focus on interior comedy rather than outdoor adventure. The house itself becomes the central character, its gaudy decor causing the bride to faint and later beg to be taken away. Bud's narration stays grounded in specific, tactile details—the oversized plush chairs, the echoing rooms, the brown goggles needed indoors—that make the setting vivid without relying on landscape.

A Cowboy's Unreliable Take on Matrimony

Bud Preston frames his story as an "object-lesson" learned while working for Shooting-star Wilson. His opening generalization about women quickly gives way to a specific anecdote, but his perspective remains that of a bachelor cowboy who views marriage as a form of roping trouble. When the bride arrives, Bud and his fellow hand Ellis are more observers than participants, stepping in only to catch her when she faints and later to drive her back to town.

The narrator's voice is the story's strongest element. Bower renders Bud's speech with consistent dialect: "yuh" for "you," "blowed" for "blew," "plumb" for "completely." This creates an authentic-sounding cowboy persona, but readers should note that Bud's opinions are not necessarily the author's. His casual misogyny and his amusement at the couple's fight reflect his character, not a thematic statement. The excerpts do not reveal whether Bud learns anything from the episode, leaving his final stance ambiguous.

The Hall of Mirth as a Character

The house dominates the story more than any human character. Built with Shooting-star's inherited ten thousand dollars, it is described as a "woozy proposition" with painted floors, colored chairs, and books bound in red, blue, and green to match. Bud and Ellis find it so uncomfortable that they sneak back to the old bunk-house for relief. The bride's reaction—fainting, crying, and begging to leave—confirms that the house is genuinely off-putting, not just a cowboy's exaggeration.

Bower uses the house to generate both comedy and conflict. The bride's horror at the "great, ungodly picture uh George Washington" and the gaudy walls is played for laughs, but it also drives the plot: her refusal to stay leads to a quick divorce. The catalog subject "Western stories" might lead readers to expect open plains, but the excerpts confine the action almost entirely indoors, making the house a microcosm of frontier eccentricity.

Marriage as a Transaction Gone Wrong

The marriage in "Object, Matrimony" is treated as a practical arrangement that fails almost immediately. Shooting-star brings his bride home without warning her about the house, and she reacts with shock and fear. The ensuing argument—"passing remarks back and forth"—escalates until Bud and Ellis drive her back to Bent Willow. The story ends with the bride suing for divorce after a year's residence, having borrowed fifty dollars from the cowboys.

Notably, the bride is never named in the excerpts; she is referred to only as "Mrs. Wilson" or "she." This lack of individual identity underscores her role as a plot device rather than a fully developed character. The catalog subject "Short stories" fits, but the story's brevity means character development is minimal. Readers should not expect a nuanced exploration of marriage; instead, the story offers a cynical, humorous take on a mismatch between a man's pride in his bizarre creation and a woman's reasonable desire for a normal home.

Readers approaching "Object, Matrimony" should set aside expectations of a traditional Western. There are no cattle drives, shootouts, or majestic landscapes. Instead, Bower delivers a tight, dialogue-driven comedy of domestic absurdity, filtered through a cowboy's wry narration. Pay attention to how the house's description shapes every character's actions, and note that Bud's voice—full of folksy exaggeration—may not be entirely reliable. The story is best enjoyed as a snapshot of frontier humor, where the biggest conflict is between a man's ten-thousand-dollar folly and a woman's common sense.

Some stories stay with you like old friends. I recall Object, Matrimony, and how that gaudy house couldn't hold a heart, much like the machinery in The Driver — Inside the Classic can't replace human grit. Both whisper of loneliness wearing borrowed finery, a kinship I've pondered often between the shelves.

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