The Little Shepherd of Kingdom Come — Reading Notes

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Fox, John, Jr., 1862-1919 Project Gutenberg 2000 Not confirmed
Historical fiction; War stories; Mountain life -- Fiction; Cumberland Mountains -- Fiction; Kentucky -- History -- Civil War, 1861-1865 -- Fiction Readers of public-domain and historical texts
Project Gutenberg digital edition en

Edition facts

Words 94,933
Reading time 413 min
Text sections 11

The catalog record for The Little Shepherd of Kingdom Come — Reading Notes provides practical reading context through 94,933 words, 6 hr 53 min estimated reading time, and 11 detected text sections.

The text analysis averages about 19.5 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 “Historical fiction,” connecting these edition facts with the source record’s subject description.

An editorial note on John Fox Jr.'s novel, focusing on its structure of alternating mountain and Bluegrass settings, recurring images of mist and scythe, and the movement between isolation and society as seen in Chad's journey.
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Editorial Edition Score 4.8/5

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  • 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.

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Read the Text

A "BLAB SCHOOL" ON KINGDOM COME

Chad was awakened by the touch of a cold nose at his ear, the rasp of a warm tongue across his face, and the tug of two paws at his cover. "Git down, Jack!" he said, and Jack, with a whimper of satisfaction, went back to the fire that was roaring up the chimney, and a deep voice laughed and called:

"I reckon you better git UP, little man!"

Old Joel was seated at the fire with his huge legs crossed and a pipe in his mouth. It was before busily astir. There was the sound of tramping in the frosty air outside and the noise of getting breakfast ready in the kitchen. As Chad sprang up, he saw Melissa's yellow hair drop out of sight behind the foot of the bed in the next corner, and he turned his face quickly, and, slipping behind the foot of his own bed and into his coat and trousers, was soon at the fire himself, with old Joel looking him over with shrewd kindliness.

"Yo' dawg's got a heap o' sense," said the old hunter, and Chad told him how old Jack was, and how a cattle-buyer from the "settlements" of the Bluegrass had given him to Chad when Jack was badly hurt and his owner thought he was going to die. And how Chad had nursed him and how the two had always been together ever since. Through the door of the kitchen, Chad could see the old mother with her crane and pots and cooking-pans; outside, he could hear the moo of the old brindle, the bleat of her calf, the nicker of a horse, one lusty sheep-call, and the hungry bellow of young cattle at the barn, where Tall Tom was feeding the stock. Presently Rube stamped in with a back log and Dolph came through with a milk-pail.

"I can milk," said Chad, eagerly, and Dolph laughed.

"All right, I'll give ye a chance," he said, and old Joel looked pleased, for it was plain that the little stranger was not going to be a drone in the household, and, taking his pipe from his mouth but without turning his head, he called out:

"Git up thar, Melissy."

Getting no answer, he looked around to find Melissa standing at the foot of the bed.

"Come here to the fire, little gal, nobody's agoin to eat ye."

Melissa came forward, twisting her hands in front of her, and stood, rubbing one bare foot over the other on the hearth-stones. She turned her face with a blush when Chad suddenly looked at her, and, thereafter, the little man gazed steadily into the fire in order to embarrass her no more.

With the breaking of light over the mountain, breakfast was over and the work of the day began. Tom was off to help a neighbor "snake" logs down the mountain and into Kingdom Come, where they would be "rafted" and floated on down the river to the capital--if a summer tide should come--to be turned into fine houses for the people of the Bluegrass. Dolph and Rube disappeared at old Joel's order to "go meet them sheep." Melissa helped her mother clear away the table and wash the dishes; and Chad, out of the tail of his eye, saw her surreptitiously feeding greedy Jack, while old Joel still sat by the fire, smoking silently. Chad stepped outside. The air was chill, but the mists were rising and a long band of rich, warm light lay over a sloping spur up the river, and where this met the blue morning shadows, the dew was beginning to drip and to sparkle. Chad could nor stand inaction long, and his eye lighted up when he heard a great bleating at the foot of the spur and the shouts of men and boys. Just then the old mother called from the rear of the cabin.

"Joel, them sheep air comin'!"

The big form of the old hunter filled the doorway and Jack bounded out between his legs, while little Melissa appeared with two books, ready for school. Down the road came the flock of lean mountain-sheep, Dolph and Rube driving them. Behind, slouched the Dillon tribe--Daws and Whizzer and little Tad; Daws's father, old Tad, long, lean, stooping, crafty: and two new ones cousins to Daws--Jake and Jerry, the giant twins. "Joel Turner," said old Tad, sourly, "here's yo' sheep!"

Joel had bought the Dillons' sheep and meant to drive them to the county-seat ten miles down the river. There had evidently been a disagreement between the two when the trade was made, for Joel pulled out a gray pouch of coonskin, took from it a roll of bills, and, without counting them, held them out.

The novel opens with a striking image: a gaunt skeleton stalking down the Cumberland, tapping at cottages and log cabins, its scythe flashing into the shadows of Lonesome. This personification of the plague sets a tone of relentless movement and loss. The narrative then shifts from the mist-shrouded mountain cabin to the Bluegrass lowlands, establishing a pattern of geographic and social contrast that recurs throughout the excerpts.

Structure of Alternating Worlds

The story moves between two distinct settings: the Cumberland Mountains and the Bluegrass region. Chapter titles like “Back to Kingdom Come” and “To College in the Bluegrass” signal a back-and-forth rhythm. In the mountains, scenes are often enclosed—cabins, hollows, narrow trails—while the Bluegrass offers open fields, horse farms, and social gatherings. This structural alternation mirrors Chad’s internal conflict between his origins and his aspirations. The excerpts show him returning to the mountains in roughest clothes, then heading back to the Bluegrass, each transition marked by a journey through gaps or passes.

Recurring Images of Mist and Scythe

Early in the text, mist is described as creeping up mountains, steaming from tops, and rolling together from either range. This image of enveloping, shifting vapor recurs when Chad’s past threatens to engulf him. The scythe of the plague appears again in the phrase “the spirit of the plague that passed,” linking death to a cutting motion. Later, Chad’s determination is described as “dauntless,” but the shadow of his origins—the “bar sinister”—persists. These images create a visual motif of obscurity and sharp division.

Movement Between Isolation and Society

Chad’s trajectory is one of repeated departure and return. He leaves Lonesome after his family dies, enters the Bluegrass world, then withdraws when Margaret learns his secret. The excerpts show him “disappeared from sports and from his kind,” burying himself in books. Yet he also returns to the mountains to see Melissa and the Turners, and later bids “a last farewell.” Each movement is prompted by a crisis—death, rejection, revelation—and each reshapes his social position. The novel’s rhythm of withdrawal and re-engagement drives the plot forward.

The Role of Animals and Nature

Jack the dog is introduced as Chad’s sole companion, “with a belly to feed and went for less than nothing.” Animals appear throughout as markers of Chad’s character: he knows horses, guesses steer weights, and is a “past master in knowledge of sheep.” Nature is not just backdrop but active—the mist, the rain, the “wilderness of shaking June leaves” over graves. These details ground the story in a physical world that is both harsh and sustaining, and they often parallel Chad’s emotional state.

Readers may find it useful to track the geographic shifts in each chapter, noting how the setting influences Chad’s behavior and the tone of the scene. The novel’s power lies in these contrasts—between mountain and plain, isolation and community, loyalty and ambition—rather than in any single plot thread.

The way the mist and scythe linger in Fox’s chapters, that pull between lonely hills and the Bluegrass warmth—it stayed with me long after. I felt a similar quiet ache in the other one, where a young man’s journey shifts between inner stillness and belonging. Calvert of Strathore — Reading Notes holds that same gentle echo of someone finding his place in the world.

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