Children of Our Town — Reading Companion

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Wells, Carolyn, 1862-1942, Mars, E. (Ethel), 1876- [Illustrator], Squire, Maud Hunt, 1873- [Illustrator] Project Gutenberg 2008 Not confirmed
Children's poetry, American; City and town life -- Juvenile poetry; Children -- Juvenile poetry Readers of public-domain and historical texts
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Words 5,200
Reading time 23 min
Text sections 1

This digital edition of Children of Our Town — Reading Companion is described by source-level measurements including 5,200 words, 23 min estimated reading time, and 1 detected text section.

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Project Gutenberg metadata also associates the work with “Children's poetry, American,” connecting these edition facts with the source record’s subject description.

Carolyn Wells' 1902 children's poetry collection pairs light verses with illustrations by E. Mars and Maud Hunt Squire, depicting urban childhood activities like kite-flying and boat-sailing, while repeatedly addressing 'Aged' adults with playful admonitions.
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Produced by Jason Isbell, Christine D. and the Online Distributed Proofreading Team at http://www.pgdp.net

BY E. MARS AND M. H. SQUIRE

WITH VERSES BY CAROLYN WELLS

PICTURED BY E. MARS AND M. H. SQUIRE

WITH VERSES BY CAROLYN WELLS

PUBLISHED BY R. H. RUSSELL NEW YORK

Copyright, 1902, by ROBERT HOWARD RUSSELL

A blustering windy day's just right For boys who want to fly a kite; And it affords the greatest joy To make and use the pretty toy.

But Aged Duffers, do not try A large-sized paper kite to fly; You could not manage tail or string, And ten to one you'd spoil the thing.

A morning full of happiness any boy may find By sailing boats upon the lake, if he is so inclined; The wind it drives them out to sea, he pulls them back, and then They jerk and struggle to be free--away they go again! They wibble-wobble as they sail, and sometimes they upset,-- Of course he reaches out for them,--of course he gets quite wet.

But Aged Grandsires, if you must sail boats in Central Park, Play properly, don't splash yourself, and run back home ere dark.

See proud Belinda smartly dressed In all her flaunting Sunday best; With muslin hat and ruffles big She cannot comfortably dig.

Ask her if she would like to play,-- She will not answer either way; She'll only shake herself, and then, Just pout and grin and pout again.

Dear Grandams, meekly learn from this, How very ill-advised it is To don a costume fine and grand When you go playing in the sand.

Instead of your bespangled net, Or moire velvet edged with jet, Just wear a gingham, simply made, So you can tuck it up and wade.

In Central Park, along the Mall, We see the gay goat-carriage crawl; With little boys and girls inside, Enjoying their exciting ride.

Right willingly each nimble steed Exerts his very utmost speed; And o'er the smooth hard road they race At something like a turtle's pace.

But stout old men and portly dames, Pray, do not urge your rightful claims; And even though you have the price, Listen, I beg, to my advice.

Do not insist on getting in The little carriage for a spin; You'd not look picturesque at all Careering up and down the Mall.

'Tis taught by philosophic schools The human race is mostly fools. And once a year you see this truth Ably set forth by jocund youth, Who broach the tenets of the creed Plainly that he who runs may read.

But Aged Idiots, 'tis not meet For you to run along the street, And with a manner bold and sly Pin tags on ladies passing by, Or sit upon the curb and look For fools to snatch your pocket-book.

Lucinda's tastes are so depraved; She likes to play and romp With children poor and ill-behaved, Who boast no style or pomp.

Their costumes are not quite correct, They have no pretty tricks; Lucinda! pray be more select, In higher circles mix.

Ah, sweet Lucinda, best of girls, How quick to take advice. Behold her with unpapered curls, And frock so rich and nice!

Her haughty stare! Who would suppose That dress would change her so Oh, blessed influence of fine clothes, How much to thee we owe!

Dear lady-readers of whatever age, Look backward and with me enjoy this page. What happy moments have we often spent Thus to our frenzied anger giving vent. Ah, me, the long-lost joys of being young! To make up faces, and stick out one's tongue; How those occasions of Xantippish strife Gave zip and zest to our dull childish life.

Ah, truly, as the tree is bent the tiny twig's inclined, And in the very littlest girls we see The contradictious tendencies of woman's wayward mind Developed to a marvellous degree. For each small daughter of her mother Will say one thing and do the other.

For instance, when some little girls just hate to go to school And beg that they may stay at home and play; And then, permission given, these same children, as a rule, Delight in _playing school_ the livelong day! Ah, no wonder poets feature Woman as a captious creature.

Baby and Sis and me Stand by the fence and see Picnickers munch Lots o' good lunch, Jes' givin' nothin' to we.

Baby and Sis and me, Hungry as we can be, Haven't no right To be 'spectin' a bite,-- But we're glad lookin' is free.

The Bison, though he seems so grim, Is very sensitive; And when the children stare at him, He wants to cease to live.

Carolyn Wells' Children of Our Town (1902) is a collection of short poems accompanied by illustrations from E. Mars and Maud Hunt Squire. The verses focus on children's activities in an urban setting—flying kites, sailing boats on a lake, riding goat carriages in Central Park, and playing at Coney Island. A distinctive structural feature is the repeated direct address to adults, often labeled 'Aged Duffers,' 'Aged Grandsires,' or 'Dear Grandams,' who are humorously warned against joining in the children's play. This framing suggests the poems are as much about adult restraint as about childhood freedom.

Urban Playgrounds and Specific Settings

The poems name real New York locations: Central Park, Coney Island, and a lake (likely the Central Park lake or a similar urban pond). The verse 'Boats on the Lake' describes the 'wibble-wobble' motion of toy boats and the child getting wet while retrieving them. 'In Central Park' depicts a 'gay goat-carriage' crawling along the Mall at a 'turtle's pace.' These details ground the collection in a turn-of-the-century cityscape, contrasting with the catalog subject 'City and town life' by showing specific, named places rather than generic urban scenes.

The Recurring Adult Admonitions

Nearly every poem includes a stanza addressed to older readers. In 'Flying Kites,' 'Aged Duffers' are told not to try flying a kite because they would 'spoil the thing.' 'Boats on the Lake' warns 'Aged Grandsires' to 'play properly' and not splash. 'At Coney Island' advises 'Dear Grandams' to wear gingham instead of fine clothes. This pattern turns the poems into a kind of etiquette lesson for adults, suggesting the verses are as much about policing adult behavior as celebrating childhood. The catalog subject 'Children's poetry, American' does not capture this ironic, instructional tone.

Voice and Moralizing Undercurrent

Wells' voice is playful but moralistic. In 'The First of April,' she notes that 'the human race is mostly fools' and warns 'Aged Idiots' not to pin tags on ladies. 'Plebeian' begins 'Lucinda's tastes are so depraved; She likes to play...' (the excerpt cuts off). The poems often contrast proper and improper behavior, with children's simple joys set against adult pretension. The catalog subject 'Children -- Juvenile poetry' implies child-focused content, but the verses consistently address adults, making the intended audience ambiguous. The moralizing is light but persistent, embedded in the verse structure rather than stated as lessons.

Children of Our Town rewards attention to its dual audience: children may enjoy the rhymes and illustrations, while adult readers will find the recurring admonitions to 'Aged' figures a wry commentary on grown-up solemnity. The poems are best read as period pieces that capture a specific urban childhood circa 1900, with the illustrations by Mars and Squire likely adding visual charm not fully conveyed by text alone.

Flipping through Children of Our Town, I stopped at the kite-flying verses—those light, crooked rhymes about childhood slipping away. It made me think of that other volume, and how both gently scold us grown-ups for forgetting play. Goops and How to Be Them — A Closer Reading holds the same quiet, amused patience. I still recall the illustration of a boy’s string snapping, trailing off like a half-remembered afternoon.

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