The eagle's wing: A story of the Colorado — Background and Themes

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Bower, B. M., 1871-1940, Johnson, Frank Tenney, 1874-1939 [Illustrator] Project Gutenberg 2022 Not confirmed
Western stories; Gold mines and mining -- Fiction; Colorado River (Colo.-Mexico) -- Fiction Readers of public-domain and historical texts
Project Gutenberg digital edition en

Edition facts

Words 75,836
Reading time 330 min
Text sections 34

For The eagle's wing: A story of the Colorado — Background and Themes, the stored edition analysis reports 75,836 words, 5 hr 30 min estimated reading time, and 34 detected text sections.

The text analysis averages about 14.8 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 “Western stories,” connecting these edition facts with the source record’s subject description.

B. M. Bower's 1924 novel uses the Colorado River as a dynamic backdrop for a story of secrets, identity, and a dam. The narrative shifts between the King homestead's perfumed serenity and the river's relentless flow, with dialogue that reveals hidden relationships and a central mystery about a family resemblance.
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Editorial Edition Score 4.8/5

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  • Source metadata20 pts
  • Text length15 pts
  • Chapters / structure15 pts
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hulk in a wheel chair. And the Kings never ran after anybody; nor the Rawlinses, your grandmother’s people. Two good names--glad you carry ’em both. If you live up to ’em both you’ll go far. Take care of those two books, boy. Remember what I said--they’re your legacy from King, of the Mounted. Good night.”

The old man snapped out the last two words in a tone of finality and reached for his pipe. Johnny Buffalo opened the door an inch wider. Rawley obeyed the unspoken hint and straightway found himself outside, with the door closed behind him. He waited, listening, loth to go. Now that the feud was broken, he tingled with the desire to know more about his grandfather, more about those wonderful old fighting frontier days, more about King, of the Mounted.

“Crazy? I should say not!” Rawley muttered as he made his way slowly across the strip of grass by the syringas. “I only hope my brain will be as keen as Grandfather’s when I am his age.”

He stood for a few minutes breathing deep the night air saturated with perfume. Then, with the spell of his grandfather’s vivid personality strong upon him, he went in to where his mother sat gently rocking beside a rose-shaded lamp, looking over a late magazine.

“I’ve just been having a talk with Grandfather,” Rawley announced bluntly, sitting down opposite his mother and studying her as if she were a stranger to him. Indeed, those few minutes spent in the west wing had dealt a sharp blow to his unquestioning faith in his mother. Mrs. King dropped the magazine and opened her lips--artificially red--and gave a faint gasp.

“Grandfather’s mind is as clear as yours or mine,” Rawley stated challengingly. “A bit old-fashioned, maybe--a man couldn’t live in a wheel chair for fifty years or so, shut away from all companionship as he has been, and keep his ideas right up to the minute. If you ask me, I’ll say he’d make a corking old pal. Full of pep--or would be if he weren’t crippled. It’s a darned shame I never busted through the feud before. Why, fifty years ago he was all through Nevada--think of that! I’d give ten years of my life to have lived when he did, right at his elbow.”

He felt the sag in his pockets then and brought out the two little books.

“I always thought, Mother, that Grandfather King was a particularly wicked old party. Well, that’s all wrong--same as the idea that he’s weak in the head. He gave me this Bible, and made me promise to read it. He said--”

“_Bible?_” Rawley’s mother sat up sharply, and her mouth remained open, ready for further words which her mind seemed unable to formulate.

“You bet. He said if I read it faithfully and got all the good out of it there is in it, I’d thank him the rest of my life--or something like that. He meant it, too.”

“Why, Rawley King! Your grandfather has always been an atheist of the worst type! I’ve heard your father tell how he used to hear your grandfather blaspheme and curse God by the hour for making him a cripple. When he was a little boy--your father, I mean--he was deeply impressed by your grandmother asking every prayer-meeting night for the prayers of the church to soften her husband’s heart and turn his thoughts toward God. Your father has told me how he used to go home afterwards and watch to see if your grandfather’s heart was softened. But it never was--he got wickeder, if possible, and swore horribly at everything, nearly. Your father said he nearly lost faith in prayer. But he believed that the congregation never prayed as it should. I wouldn’t believe, Rawley, that your grandfather would have a Bible near him. Are you sure?”

“Here it is,” Rawley assured her, grinning. “He said it was my legacy from him.”

The scent of a thousand roses on the south porch of the King homestead opens B. M. Bower's The Eagle's Wing, but the peace is immediately undercut by the arrival of Johnny Buffalo, who walks straight as an arrow across forbidden grass. This contrast between domestic tranquility and the desert's hot, empty spaces sets the novel's oscillating pace. The narrative voice moves from languid description to tense, clipped dialogue, as when Rawley King mutters, "It makes it damned awkward—this resemblance." The river itself becomes a character, always slipping past, always in a hurry to meet the tides, mirroring the characters' hidden currents.

Voice and the Weight of Secrets

Bower's dialogue carries the burden of withheld information. In one exchange, Peter remarks, "Talk about the beautiful faith of your own people," after Nevada accuses him of a double life. The characters speak around truths, using euphemisms and half-confessions. Rawley's interior voice, however, is more direct: "I hate to have Nevada think that I deliberately lied to her." The narrative voice shifts between omniscient observation and close third-person, particularly in scenes where Rawley watches Peter's face revealed by a match flare. The prose often lingers on physical details—a pipe sagging, a cigarette being made—before cutting to blunt statements like "I saw two men drown out there, once." This rhythm of pause and revelation creates a tension that mirrors the river's hidden dangers.

The River as a Structural Force

The Colorado River is not merely setting but a structural device that controls pace. Bower describes it as "always slipping past him, always in a hurry to meet the tides." The river's constant movement contrasts with the static, brooding house. Peter's dream of building a dam—"I'd like to stop it running, just to show it who's master here"—introduces a human desire to control nature, which parallels the characters' attempts to control family secrets. The river scenes are sparse but pivotal, often occurring at chapter breaks or moments of emotional climax. The narrative slows when characters stare at the water, then accelerates during confrontations. This ebb and flow gives the novel a distinctive rhythm, where the river's presence punctuates the plot like a recurring motif.

Changes in Pace Through Dialogue and Description

Bower varies pace by alternating dense descriptive passages with rapid-fire dialogue. The opening paragraph, with its "fragrant serenity" and "somber west wing," moves slowly, building atmosphere. Then Johnny Buffalo's arrival shifts to action: "Rawley straightened and stared, the bowl of his pipe sagging." Later, a quarrel between Nevada and Peter uses short, emotional lines: "Oh, I hate you both!" followed by her flight. The narrative then slows again with Peter's philosophical remark. This pattern repeats throughout the excerpts: a leisurely setup, a sudden confrontation, then a reflective pause. The match flare that reveals Peter's face is a microcosm of this technique—a brief, illuminating moment within a longer meditation. The pace mirrors the river's own changes from calm to rapids.

Readers should attend to the river's symbolic weight and the way Bower uses it to mark shifts in tension. The novel's title, The Eagle's Wing, hints at protective power, but the excerpts show that protection often comes with cost. The dam project is both literal and metaphorical, a desire to halt time and control fate. Pay attention to how characters' voices change when speaking of the river versus the homestead—the language becomes more urgent, more elemental. This contrast is the novel's engine.

There are moments in The Eagle's Wing when the river seems to carry every secret the characters try to hide, and I found myself thinking how often the Colorado quietly outlasts our small dramas. That same unhurried patience hums through His Excellency's English Governess — Themes and Context, where identity unfolds more like a slow tide than a revelation. Some stories just need that gentle current.

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