On Strike, or, Where do the Girls come in? — Text and Context

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Glenfield, Edric Project Gutenberg 2021 Not confirmed
Short stories; Humorous stories; Australia -- Fiction; Strikes and lockouts -- Fiction Readers of public-domain and historical texts
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Edition facts

Words 6,244
Reading time 28 min
Text sections 1

The catalog record for On Strike, or, Where do the Girls come in? — Text and Context provides practical reading context through 6,244 words, 28 min estimated reading time, and 1 detected text section.

The text analysis averages about 26.2 words per sentence, while the detected sections provide another way to judge how the source is divided.

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Edric Glenfield's 1890 Australian satire follows millionaire Reginald Oofbourne, who after his fiancée's death, uses his wealth to support women's causes during the Sydney maritime strike, blending farce, social commentary, and a subplot about female strikers.
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Editorial Edition Score 4.3/5

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  • Text length15 pts
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Read the Text

Where do the Girls come in?

DEDICATED TO ALL HIS AUSTRALIAN SISTERS BY THE AUTHOR.

SYDNEY: GIBBS, SHALLARD & CO., PRINTERS & PUBLISHERS 84A PITT STREET.

WHERE DO THE GIRLS COME IN?

Reginald Oofbourne was born with the proverbial silver spoon in his mouth. It is not necessary for the purpose of this work to say how his family acquired their wealth, but at the age of twenty-one he was approximately worth six million pounds sterling. He was deeply in love with a young lady who was born in a village adjoining his own property.

His love was no sudden infatuation. He had carried Edith Marton in his arms as a baby, he had worshipped the sweet child of twelve, and when she reached the age of eighteen he was madly in love with her. They were about to be married, when one afternoon Edith, who was riding on the banks of the Thames, near Slangbourne, with her great friend, Mrs. Croolbred, met with a serious and, as after events proved, a fatal accident. Her horse shyed at an amateur photographer, and she was thrown violently on the road. Assistance was at once obtained, and she was carried home insensible. Reginald Oofbourne was at once sent for, but only arrived in time to see his darling girl expire in his arms.

Before she died she was able only to say a few words, and her last request to her devoted lover was--“Promise me, Reggy, that you will devote your enormous wealth to benefit any of my sex who require assistance throughout the world.” “I promise, darling,” replied the distracted lover, and Edith fell back dead.

I will draw a blank over the next few days. Our hero was struck down with an attack of brain fever, and his life was despaired of. He, however, was rescued when on the brink of the grave by the careful nursing of a few devoted friends. When he became convalescent he was a broken-hearted man, but by his promise his life and wealth were devoted to the benefit of the female sex throughout the world.

For some twenty years Reginald travelled about, totally unsettled, doing good to womankind whenever opportunity occurred. On one occasion he fed twenty thousand starving Chinese school-girls on Bath buns, which he imported from England by a special steamer for the occasion.

However, no opportunity had occurred for our hero to do any great thing to prove himself the champion of womankind until he took an idea into his head to visit Australia. He arrived in Sydney by the Orient steamer “Cuzco” in September, 1890, and, on landing, found the city in a state of ferment owing to the great maritime strike.

Though he had no sympathy with the unionists, he naturally came in contact with some of them, and could not help discussing the question, as nobody talked about anything else. Federation, the great hobby of the Australians, was forgotten for a time. Reginald could not see that the men who were on strike had any particular grievance, but he realised that the children were suffering on account of their fathers being out of work, and so he spent most of his time driving about in cabs loaded with fruit and food of all descriptions, which he distributed to the children about Miller’s Point and Sussex Street.

One day he happened to go into the establishment of Cordons, the great drapers, to buy a pair of gloves, and he was served by a young woman whom he noticed looked very pale and careworn. He got into conversation with her, in spite of the frowns of the shop-walker. In a short time he found out exactly how the respectable working girls, who were trying to earn an honest living in Sydney, are treated, and he found that they had three particular grievances, viz.:--

Too long hours, Too little wages, And not allowed chairs

--that is, not allowed to sit down when not serving customers.

He went further into the question, and he found out that Messrs. Cordon and Co. treated their girls well in comparison to another firm of the name of Paul Pry, who keep open at night, whereas Cordon’s always close at six o’clock.

Edric Glenfield's On Strike, or, Where do the Girls come in? (1890) opens with a deathbed promise that propels its hero into a quixotic mission: Reginald Oofbourne, a millionaire whose fiancée Edith dies after being thrown from a horse, vows to devote his fortune to aiding women worldwide. The narrative voice shifts abruptly from sentimental melodrama—Edith's last words are a tearful request—to a brisk, almost flippant tone: "I will draw a blank over the next few days." This tonal whiplash sets the pattern for a story that careens between earnest philanthropy and absurdist comedy.

A Voice That Refuses to Settle

The narrator's voice is the most distinctive feature of the text, oscillating between mock-heroic gravity and offhand irreverence. When Reginald feeds "twenty thousand starving Chinese school-girls on Bath buns" imported by special steamer, the absurd specificity undercuts any pretense of realism. Glenfield often inserts parenthetical asides or sudden shifts in register: after describing Edith's death, the narrator bluntly declares, "I will draw a blank over the next few days." This technique keeps the reader off-balance, unsure whether to take the story as sentimental romance, social satire, or farce. The voice also indulges in wry understatement, as when the strikers "behaved very well" despite a few arrests. Such phrasing suggests a narrator who is both amused and detached, observing the chaos of the 1890 maritime strike with a raised eyebrow.

Pacing and the Mechanics of Farce

The story's pacing is erratic, driven by the demands of its satirical targets rather than plot logic. Early chapters linger on Reginald's backstory and Edith's accident in a style reminiscent of Victorian sentimental fiction, but once the scene shifts to Sydney, the narrative accelerates into a series of set pieces: a strike meeting, a women's march, a constabulary ball. Glenfield compresses time with phrases like "as time went on" and leaps over weeks of strike activity in a single paragraph. The climax—a conference where capitalists yield to a girl delegate's beauty—arrives with almost perfunctory speed. This uneven rhythm mirrors the story's hybrid genre: it is neither a fully developed novel nor a tight short story, but a sketch that prioritizes comic effect over narrative coherence. Readers should expect abrupt transitions and a conclusion that ties up loose ends with a wink.

Recurring Details and Thematic Anchors

Glenfield plants several recurring motifs that ground the satire. The most persistent is the amateur photographer: Edith's horse shies at one, causing her fatal fall, and Reginald later "can never even now look upon an amateur photographer without shuddering." This running joke transforms a random detail into a symbol of the absurdity that governs the plot. Another repeated element is the use of exaggerated numbers and commodities: six million pounds, twenty thousand school-girls, Bath buns, a special steamer. These hyperboles signal that the story operates in a realm of economic fantasy rather than realistic social commentary. The setting itself—Sydney during the 1890 maritime strike—provides a historical anchor, but Glenfield treats it as a backdrop for farce, not a subject for analysis. The girls' union, the "girl constabulary," and the fancy dress ball all suggest that the author is more interested in the comic potential of gender role reversal than in the actual labor dispute.

Readers approaching On Strike should set aside expectations of a coherent novel or a faithful historical account. Glenfield's work is best enjoyed as a period curiosity—a satirical pamphlet that uses the strike as a springboard for whimsical gender politics and self-aware narrative play. Pay attention to the narrator's shifting tone and the way absurd details (Bath buns, photographer phobia) recur like punchlines. The story's brevity (under 30 minutes to read) makes it easy to revisit and appreciate its peculiar blend of sentiment and mockery.

Reading On Strike again, I found myself missing that stubborn, scrappy energy of its women strikers. It reminded me of another world entirely—a ranch girl, quietly determined in her own way, fighting for a place to belong. There’s a warmth there, a particular kind of hopeful resolve, that felt like an old friend. That’s why I pulled A Sagebrush Cinderella — Text and Context off the shelf, and simply sat with it.

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