Journeys to Bagdad — Reading Notes

(0 User reviews)   2648
Brooks, Charles S. (Charles Stephen), 1878-1934, Lewis, Allen, 1873-1957 [Illustrator] Project Gutenberg 2006 Not confirmed
Essays Readers of public-domain and historical texts
Project Gutenberg digital edition en

Edition facts

Words 26,751
Reading time 117 min
Text sections 3

Before opening Journeys to Bagdad — Reading Notes, the edition data offers a quick orientation: 26,751 words, 1 hr 57 min estimated reading time, and 3 detected text sections.

The text analysis averages about 21.1 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 “Essays,” connecting these edition facts with the source record’s subject description.

Charles S. Brooks's essay collection uses whimsical yet precise observations—from a ship chandlery's hemp-and-tar smell to a hurdy-gurdy's effect on laundry—to explore the urge to escape routine. The opening, middle, and later excerpts reveal a playful, digressive voice that builds meaning through sensory details and literary allusions.
Share
Editorial Edition Score 4.6/5

Calculated from edition completeness, EPUB availability, text structure and catalogue metadata. Not a user rating.

How this score is calculated
  • 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.

Edition quality

Read the Text

I. Journeys to Bagdad II. The Worst Edition of Shakespeare III. The Decline of Night-Caps IV. Maps and Rabbit-Holes V. Tunes for Spring VI. Respectfully Submitted--To a Mournful Air VII. The Chilly Presence of Hard-headed Persons VIII. Hoopskirts and Other Lively Matter IX. On Traveling X. Through the Scuttle with the Tinman

Are you of that elect who, at certain seasons of the year--perhaps in March when there is timid promise of the spring or in the days of October when there are winds across the earth and gorgeous panic of fallen leaves--are you of that elect who, on such occasion or any occasion else, feel stirrings in you to be quit of whatever prosy work is yours, to throw down your book or ledger, or your measuring tape--if such device marks your service--and to go forth into the world?

I do count myself of this elect. And I will name such stimuli as most set these stirrings in me. And first of all there is a smell compounded out of hemp and tar that works pleasantly to my undoing. Now it happens that there is in this city, down by the river where it flows black with city stain as though the toes of commerce had been washed therein, a certain ship chandlery. It is filthy coming on the place, for there is reek from the river and staleness from the shops--ancient whiffs no wise enfeebled by their longevity, Nestors of their race with span of seventy lusty summers. But these smells do not prevail within the chandlery. At first you see nothing but rope. Besides clothesline and other such familiar and domestic twistings, there are great cordages scarce kinsmen to them, which will later put to sea and will whistle with shrill enjoyment at their release. There are such hooks, swivels, blocks and tackles, such confusion of ships' devices as would be enough for the building of a sea tale. It may be fancied that here is Treasure Island itself, shuffled and laid apart in bits like a puzzle-picture. (For genius, maybe, is but a nimbleness of collocation of such hitherto unconsidered trifles.) Then you will go aloft where sails are made, with sailormen squatting about, bronzed fellows, rheumatic, all with pipes. And through all this shop is the smell of hemp and tar.

In finer matters I have no nose. It is ridiculous, really, that this very messenger and forerunner of myself, this trumpeter of my coming, this bi-nasal fellow in the crow's-nest, should be so deficient. If smells were bears, how often I would be bit! My nose may serve by way of ornament or for the sniffing of the heavier odors, yet will fail in the nice detection of the fainter waftings and olfactory ticklings. Yet how will it dilate on the Odyssean smell of hemp and tar! And I have no explanation of this, for I am no sailor. Indeed, at sea I am misery itself whenever perchance "the ship goes _wop_ (with a wiggle between)." Such wistful glances have I cast upon the wide freedom of the decks when I leave them on the perilous adventure of dinner! So this relish of hemp and tar must be a legacy from a far-off time--a dim atavism, to put it as hard as possible--for I seem to remember being told that my ancestors were once engaged in buccaneering or other valiant livelihood.

But here is a peculiar thing. The chandlery gives me no desire to run away to sea. Rather, the smell of the place urges me indeterminately, diffusedly, to truantry. It offers me no particular chart. It but cuts my moorings for whatever winds are blowing. If there be blood of a pirate in me, it is a shame what faded juice it is. It would flow pink on the sticking. In mean contrast to skulls, bowie-knives and other red villainy, my thoughts will be set toward the mild truantry of trudging for an afternoon in the country. Or it is likely that I'll carry stones for the castle that I have been this long time building. Were the trick of prosody in me, I would hew a poem on the spot. Such is my anemia. And yet there is a touch of valiancy, too, as from the days when my sainted ancestors sailed with their glass beads from Bristol harbor; the desire of visiting the sunset, of sailing down on the far side of the last horizon where the world itself falls off and there is sky with swirl of stars beyond.

Brooks begins by addressing readers directly, asking if they belong to "that elect" who feel stirrings to abandon work and wander. He names specific stimuli: the smell of hemp and tar from a ship chandlery, described with concrete details—"great cordages," "hooks, swivels, blocks and tackles"—that evoke adventure. The prose is conversational yet crafted, mixing colloquial asides with literary references like Treasure Island. This opening establishes a pattern: Brooks uses sensory triggers to launch into meditative digressions, inviting readers to follow his associative logic.

The Elect and Their Stirrings

Brooks frames his essay as a personal manifesto for those who feel a periodic urge to escape. He lists stimuli that provoke this wanderlust, beginning with the ship chandlery's smell. The description is layered: first the exterior filth and "ancient whiffs," then the interior where rope dominates, then the sail loft with "bronzed fellows, rheumatic, all with pipes." Each detail builds a vivid scene. Brooks's voice is self-aware—he calls his nose "ridiculous" for finer matters—and he uses hyperbole playfully, as when he imagines the chandlery as "Treasure Island itself, shuffled and laid apart in bits." This section establishes the book's method: precise observation as a springboard for fancy.

Circuses, Elephants, and Peanuts

Later in the opening essay, Brooks turns to circuses and hurdy-gurdies. He describes elephants eating peanuts with mock astonishment: "Why this behemoth with the swishing trunk, should eat peanuts, contemptible peanuts, lies so deep in nature that the mind turns dizzy." The humor arises from incongruity—the mighty beast reduced to a penny's worth of food. Brooks also recounts a trick with a heated penny thrown to an organ grinder, and a memory of renting a hurdy-gurdy for a dollar. These anecdotes are not mere nostalgia; they illustrate how small, sensory events can trigger larger reflections. The writing is rhythmic, with short clauses and sudden shifts in tone, from philosophical to farcical.

Laundry Dancing to the Polka

In a striking passage, Brooks observes a Monday washing line: Mrs. Y's "gaunt replica" and her husband's "woolen semblance" dancing to a hurdy-gurdy. He quotes Shakespeare—"Neither of them is shap'd for sportive tricks"—then imagines them moving "heel and toe together, one, two, and a one, two, three." The scene is absurd yet tender, blending literary allusion with everyday life. Brooks contrasts those who despise hurdy-gurdy music with those who feel its call. He dismisses the detractors curtly: "God pity such! I'll not write a word of them." This section shows how Brooks uses humor and empathy to defend simple pleasures against pretension.

Noon as the Best Hour

Brooks declares noon the best time of a spring day, "I thrust this in the teeth of those who prefer the dawn." He offers no elaborate argument, only a confident assertion. This moment typifies his style: opinionated but playful, willing to contradict convention. The excerpts end before the essay concludes, but the pattern is clear—Brooks builds a case for the value of whimsy and sensory awareness. His voice is that of a companionable guide, not a lecturer. Readers should expect digressions, sudden shifts, and a tone that is both erudite and folksy. The woodcuts by Allen Lewis, mentioned in the front matter, likely complement this visual, tactile approach.

Brooks's essays reward readers who enjoy following a nimble mind through associative leaps. The excerpts show a writer who trusts small details—a smell, a tune, a line of laundry—to carry larger meaning. His humor is dry, his references wide-ranging but never pedantic. Approach this book as a series of conversations rather than arguments; let the digressions lead where they will. The woodcuts by Allen Lewis add a visual dimension that echoes the text's tactile, sensory focus.

It’s funny how a smell—hemp and tar, say—can pull you out of your own head, isn’t it? Brooks caught that so well in Journeys to Bagdad. I carried that feeling around for days. It reminds me of the quiet, wandering tone in Hints to Pilgrims — Reading Notes, like a shared secret about staying put while dreaming of elsewhere.

There are no reviews for this eBook.

0
0 out of 5 (0 User reviews )

Add a Review

Your Rating *
There are no comments for this eBook.

Reader reflection

Before you leave, reflect on the book

Use these questions to collect your thoughts before moving on.

Your progress 0 / 10
1

How far have you progressed with this book?

2

How did the book work for you overall?

3

Would you recommend this book to another reader?

4

How easy was the book to follow?

Related eBooks