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Alice Adams - The Violet Hunt and Family Obligations

Booth Tarkington

Alice Adams

The Violet Hunt and Family Obligations

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Summary

The Violet Hunt and Family Obligations

Alice Adams by Booth Tarkington

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Alice becomes so absorbed in planning dress alterations for tonight's dance that she ignores the lunch gong, leading to their cook's dramatic resignation. The chapter reveals how Alice's aesthetic improvements to their home—like replacing a harsh dinner bell with gentle Chinese gongs—backfire by making it impossible for frustrated domestic help to express urgency or anger effectively. After washing dishes herself to protect her hands, Alice falls into elaborate daydreams about the evening ahead, imagining herself as the belle of the ball with mysterious suitors and expensive flowers. Realizing she desperately wants flowers to wear, she finds twenty-two violets in their yard, then takes a trolley to a distant park where she spends hours stooping to carefully gather three hundred more violets, working until her back aches and knees tremble. When Walter refuses to escort Alice to the dance, calling the Palmer crowd snobs he wouldn't associate with 'if they coaxed him with diamonds,' their mother pleads with him about Alice's lack of 'background' and social disadvantages. The mention of Alice spending hours picking violets touches Walter's heart, and he grudgingly agrees to take her, though he insists on finding a cheap 'tin Lizzie' rather than a proper taxi. The chapter exposes the exhausting labor Alice puts into creating the illusion of effortless social belonging, while showing how family members negotiate conflicting desires and limited resources.

Coming Up in Chapter 6

After two hours of careful preparation, Alice stands before her mirror transformed—her hair perfect, her face artfully enhanced, and her mother's painstaking work creating a vision in white. With her triumphant bouquets of violets, she's ready for what might be the most important night of her life.

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An excerpt from the original text.(complete · 3036 words)

W

ith this, having more immediately practical questions before them, they
dropped the subject, to bend their entire attention upon the dress; and
when the lunch-gong sounded downstairs Alice was still sketching repairs
and alterations. She continued to sketch them, not heeding the summons.

“I suppose we'd better go down to lunch,” Mrs. Adams said, absently.
“She's at the gong again.” “In a minute, mama. Now about the
sleeves----” And she went on with her planning. Unfortunately the
gong was inexpressive of the mood of the person who beat upon it. It
consisted of three little metal bowls upon a string; they were unequal
in size, and, upon being tapped with a padded stick, gave forth
vibrations almost musically pleasant. It was Alice who had substituted
this contrivance for the brass “dinner-bell” in use throughout her
childhood; and neither she nor the others of her family realized that
the substitution of sweeter sounds had made the life of that household
more difficult. In spite of dismaying increases in wages, the Adamses
still strove to keep a cook; and, as they were unable to pay the higher
rates demanded by a good one, what they usually had was a whimsical
coloured woman of nomadic impulses. In the hands of such a person the
old-fashioned “dinner-bell” was satisfying; life could instantly be
made intolerable for any one dawdling on his way to a meal; the bell was
capable of every desirable profanity and left nothing bottled up in the
breast of the ringer. But the chamois-covered stick might whack upon
Alice's little Chinese bowls for a considerable length of time and
produce no great effect of urgency upon a hearer, nor any other effect,
except fury in the cook. The ironical impossibility of expressing
indignation otherwise than by sounds of gentle harmony proved
exasperating; the cook was apt to become surcharged, so that explosive
resignations, never rare, were somewhat more frequent after the
introduction of the gong.

Mrs. Adams took this increased frequency to be only another
manifestation of the inexplicable new difficulties that beset all
housekeeping. You paid a cook double what you had paid one a few years
before; and the cook knew half as much of cookery, and had no gratitude.
The more you gave these people, it seemed, the worse they behaved--a
condition not to be remedied by simply giving them less, because you
couldn't even get the worst unless you paid her what she demanded.
Nevertheless, Mrs. Adams remained fitfully an optimist in the matter.
Brought up by her mother to speak of a female cook as “the girl,” she
had been instructed by Alice to drop that definition in favour of one
not an improvement in accuracy: “the maid.” Almost always, during
the first day or so after every cook came, Mrs. Adams would say, at
intervals, with an air of triumph: “I believe--of course it's a little
soon to be sure--but I do really believe this new maid is the treasure
we've been looking for so long!” Much in the same way that Alice dreamed
of a mysterious perfect mate for whom she “waited,” her mother had
a fairy theory that hidden somewhere in the universe there was the
treasure, the perfect “maid,” who would come and cook in the Adamses'
kitchen, not four days or four weeks, but forever.

The present incumbent was not she. Alice, profoundly interested herself,
kept her mother likewise so preoccupied with the dress that they were
but vaguely conscious of the gong's soft warnings, though these were
repeated and protracted unusually. Finally the sound of a hearty voice,
independent and enraged, reached the pair. It came from the hall below.

“I says goo'-BYE!” it called. “Da'ss all!”

Then the front door slammed.

“Why, what----” Mrs. Adams began.

They went down hurriedly to find out. Miss Perry informed them.

“I couldn't make her listen to reason,” she said. “She rang the gong
four or five times and got to talking to herself; and then she went up
to her room and packed her bag. I told her she had no business to go out
the front door, anyhow.”

Mrs. Adams took the news philosophically. “I thought she had something
like that in her eye when I paid her this morning, and I'm not
surprised. Well, we won't let Mr. Adams know anything's the matter till
I get a new one.”

They lunched upon what the late incumbent had left chilling on the
table, and then Mrs. Adams prepared to wash the dishes; she would “have
them done in a jiffy,” she said, cheerfully. But it was Alice who washed
the dishes.

“I DON'T like to have you do that, Alice,” her mother protested,
following her into the kitchen. “It roughens the hands, and when a girl
has hands like yours----”

“I know, mama.” Alice looked troubled, but shook her head. “It can't be
helped this time; you'll need every minute to get that dress done.”

Mrs. Adams went away lamenting, while Alice, no expert, began to splash
the plates and cups and saucers in the warm water. After a while, as
she worked, her eyes grew dreamy: she was making little gay-coloured
pictures of herself, unfounded prophecies of how she would look and what
would happen to her that evening. She saw herself, charming and demure,
wearing a fluffy idealization of the dress her mother now determinedly
struggled with upstairs; she saw herself framed in a garlanded archway,
the entrance to a ballroom, and saw the people on the shining floor
turning dramatically to look at her; then from all points a rush of
young men shouting for dances with her; and she constructed a superb
stranger, tall, dark, masterfully smiling, who swung her out of the
clamouring group as the music began. She saw herself dancing with him,
saw the half-troubled smile she would give him; and she accurately
smiled that smile as she rinsed the knives and forks.

These hopeful fragments of drama were not to be realized, she knew; but
she played that they were true, and went on creating them. In all of
them she wore or carried flowers--her mother's sorrow for her in this
detail but made it the more important--and she saw herself glamorous
with orchids; discarded these for an armful of long-stemmed, heavy
roses; tossed them away for a great bouquet of white camellias; and
so wandered down a lengthening hothouse gallery of floral beauty, all
costly and beyond her reach except in such a wistful day-dream. And upon
her present whole horizon, though she searched it earnestly, she could
discover no figure of a sender of flowers.

Out of her fancies the desire for flowers to wear that night emerged
definitely and became poignant; she began to feel that it might be
particularly important to have them. “This might be the night!” She was
still at the age to dream that the night of any dance may be the vital
point in destiny. No matter how commonplace or disappointing other
dance nights have been this one may bring the great meeting. The unknown
magnifico may be there.

Alice was almost unaware of her own reveries in which this being
appeared--reveries often so transitory that they developed and passed in
a few seconds. And in some of them the being was not wholly a stranger;
there were moments when he seemed to be composed of recognizable
fragments of young men she knew--a smile she had liked, from one; the
figure of another, the hair of another--and sometimes she thought
he might be concealed, so to say, within the person of an actual
acquaintance, someone she had never suspected of being the right seeker
for her, someone who had never suspected that it was she who “waited”
for him. Anything might reveal them to each other: a look, a turn of the
head, a singular word--perhaps some flowers upon her breast or in her
hand.

She wiped the dishes slowly, concluding the operation by dropping a
saucer upon the floor and dreamily sweeping the fragments under the
stove. She sighed and replaced the broom near a window, letting her
glance wander over the small yard outside. The grass, repulsively
besooted to the colour of coal-smoke all winter, had lately come to life
again and now sparkled with green, in the midst of which a tiny shot of
blue suddenly fixed her absent eyes. They remained upon it for several
moments, becoming less absent.

It was a violet.

Alice ran upstairs, put on her hat, went outdoors and began to search
out the violets. She found twenty-two, a bright omen--since the number
was that of her years--but not enough violets. There were no more; she
had ransacked every foot of the yard.

She looked dubiously at the little bunch in her hand, glanced at
the lawn next door, which offered no favourable prospect; then went
thoughtfully into the house, left her twenty-two violets in a bowl
of water, and came quickly out again, her brow marked with a frown of
decision. She went to a trolley-line and took a car to the outskirts of
the city where a new park had been opened.

Here she resumed her search, but it was not an easily rewarded one,
and for an hour after her arrival she found no violets. She walked
conscientiously over the whole stretch of meadow, her eyes roving
discontentedly; there was never a blue dot in the groomed expanse; but
at last, as she came near the borders of an old grove of trees, left
untouched by the municipal landscapers, the little flowers appeared, and
she began to gather them. She picked them carefully, loosening the earth
round each tiny plant, so as to bring the roots up with it, that it
might live the longer; and she had brought a napkin, which she
drenched at a hydrant, and kept loosely wrapped about the stems of her
collection.

The turf was too damp for her to kneel; she worked patiently, stooping
from the waist; and when she got home in a drizzle of rain at five
o'clock her knees were tremulous with strain, her back ached, and she
was tired all over, but she had three hundred violets. Her mother moaned
when Alice showed them to her, fragrant in a basin of water.

“Oh, you POOR child! To think of your having to work so hard to get
things that other girls only need lift their little fingers for!”

“Never mind,” said Alice, huskily. “I've got 'em and I AM going to have
a good time to-night!”

“You've just got to!” Mrs. Adams agreed, intensely sympathetic. “The
Lord knows you deserve to, after picking all these violets, poor thing,
and He wouldn't be mean enough to keep you from it. I may have to get
dinner before I finish the dress, but I can get it done in a few minutes
afterward, and it's going to look right pretty. Don't you worry about
THAT! And with all these lovely violets----”

“I wonder----” Alice began, paused, then went on, fragmentarily: “I
suppose--well, I wonder--do you suppose it would have been better policy
to have told Walter before----”

“No,” said her mother. “It would only have given him longer to grumble.”

“But he might----”

“Don't worry,” Mrs. Adams reassured her. “He'll be a little cross, but
he won't be stubborn; just let me talk to him and don't you say anything
at all, no matter what HE says.”

These references to Walter concerned some necessary manoeuvres which
took place at dinner, and were conducted by the mother, Alice having
accepted her advice to sit in silence. Mrs. Adams began by laughing
cheerfully. “I wonder how much longer it took me to cook this dinner
than it does Walter to eat it?” she said. “Don't gobble, child! There's
no hurry.”

In contact with his own family Walter was no squanderer of words.

“Is for me,” he said. “Got date.”

“I know you have, but there's plenty of time.”

He smiled in benevolent pity. “YOU know, do you? If you made any
coffee--don't bother if you didn't. Get some down-town.” He seemed
about to rise and depart; whereupon Alice, biting her lip, sent a
panic-stricken glance at her mother.

But Mrs. Adams seemed not at all disturbed; and laughed again. “Why,
what nonsense, Walter! I'll bring your coffee in a few minutes, but
we're going to have dessert first.”

“What sort?”

“Some lovely peaches.”

“Doe' want 'ny canned peaches,” said the frank Walter, moving back his
chair. “G'-night.”

“Walter! It doesn't begin till about nine o'clock at the earliest.”

He paused, mystified. “What doesn't?”

“The dance.”

“What dance?”

“Why, Mildred Palmer's dance, of course.”

Walter laughed briefly. “What's that to me?”

“Why, you haven't forgotten it's TO-NIGHT, have you?” Mrs. Adams cried.
“What a boy!”

“I told you a week ago I wasn't going to that ole dance,” he returned,
frowning. “You heard me.”

“Walter!” she exclaimed. “Of COURSE you're going. I got your clothes all
out this afternoon, and brushed them for you. They'll look very nice,
and----”

“They won't look nice on ME,” he interrupted. “Got date down-town, I
tell you.”

“But of course you'll----”

“See here!” Walter said, decisively. “Don't get any wrong ideas in your
head. I'm just as liable to go up to that ole dance at the Palmers' as I
am to eat a couple of barrels of broken glass.”

“But, Walter----”

Walter was beginning to be seriously annoyed. “Don't 'Walter' me! I'm no
s'ciety snake. I wouldn't jazz with that Palmer crowd if they coaxed me
with diamonds.”

“Walter----”

“Didn't I tell you it's no use to 'Walter' me?” he demanded.

“My dear child----”

“Oh, Glory!”

At this Mrs. Adams abandoned her air of amusement, looked hurt, and
glanced at the demure Miss Perry across the table. “I'm afraid Miss
Perry won't think you have very good manners, Walter.”

“You're right she won't,” he agreed, grimly. “Not if I haf to hear any
more about me goin' to----”

But his mother interrupted him with some asperity: “It seems very
strange that you always object to going anywhere among OUR friends,
Walter.”

“YOUR friends!” he said, and, rising from his chair, gave utterance to
an ironical laugh strictly monosyllabic. “Your friends!” he repeated,
going to the door. “Oh, yes! Certainly! Good-NIGHT!”

And looking back over his shoulder to offer a final brief view of his
derisive face, he took himself out of the room.

Alice gasped: “Mama----”

“I'll stop him!” her mother responded, sharply; and hurried after the
truant, catching him at the front door with his hat and raincoat on.

“Walter----”

“Told you had a date down-town,” he said, gruffly, and would have opened
the door, but she caught his arm and detained him.

“Walter, please come back and finish your dinner. When I take all the
trouble to cook it for you, I think you might at least----”

“Now, now!” he said. “That isn't what you're up to. You don't want to
make me eat; you want to make me listen.”

“Well, you MUST listen!” She retained her grasp upon his arm, and
made it tighter. “Walter, please!” she entreated, her voice becoming
tremulous. “PLEASE don't make me so much trouble!”

He drew back from her as far as her hold upon him permitted, and looked
at her sharply. “Look here!” he said. “I get you, all right! What's the
matter of Alice GOIN' to that party by herself?”

“She just CAN'T!”

“Why not?”

“It makes things too MEAN for her, Walter. All the other girls have
somebody to depend on after they get there.”

“Well, why doesn't she have somebody?” he asked, testily. “Somebody
besides ME, I mean! Why hasn't somebody asked her to go? She ought to be
THAT popular, anyhow, I sh'd think--she TRIES enough!”

“I don't understand how you can be so hard,” his mother wailed, huskily.
“You know why they don't run after her the way they do the other girls
she goes with, Walter. It's because we're poor, and she hasn't got any
background.

“'Background?'” Walter repeated. “'Background?' What kind of talk is
that?”

“You WILL go with her to-night, Walter?” his mother pleaded, not
stopping to enlighten him. “You don't understand how hard things are for
her and how brave she is about them, or you COULDN'T be so selfish! It'd
be more than I can bear to see her disappointed to-night! She went clear
out to Belleview Park this afternoon, Walter, and spent hours and hours
picking violets to wear. You WILL----”

Walter's heart was not iron, and the episode of the violets may have
reached it. “Oh, BLUB!” he said, and flung his soft hat violently at the
wall.

His mother beamed with delight. “THAT'S a good boy, darling! You'll
never be sorry you----”

“Cut it out,” he requested. “If I take her, will you pay for a taxi?”

“Oh, Walter!” And again Mrs. Adams showed distress. “Couldn't you?”

“No, I couldn't; I'm not goin' to throw away my good money like that,
and you can't tell what time o' night it'll be before she's willin' to
come home. What's the matter you payin' for one?”

“I haven't any money.”

“Well, father----”

She shook her head dolefully. “I got some from him this morning, and
I can't bother him for any more; it upsets him. He's ALWAYS been so
terribly close with money----”

“I guess he couldn't help that,” Walter observed. “We're liable to go to
the poorhouse the way it is. Well, what's the matter our walkin' to this
rotten party?”

“In the rain, Walter?”

“Well, it's only a drizzle and we can take a streetcar to within a block
of the house.”

Again his mother shook her head. “It wouldn't do.”

“Well, darn the luck, all right!” he consented, explosively. “I'll get
her something to ride in. It means seventy-five cents.”

“Why, Walter!” Mrs. Adams cried, much pleased. “Do you know how to get a
cab for that little? How splendid!”

“Tain't a cab,” Walter informed her crossly. “It's a tin Lizzie, but you
don't haf' to tell her what it is till I get her into it, do you?”

Mrs. Adams agreed that she didn't.

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Let's Analyse the Pattern

Pattern: The Exhausting Performance Loop
Alice's violet-gathering marathon reveals a devastating pattern: when we believe we must perform our way into belonging, we exhaust ourselves maintaining an illusion that never delivers what it promises. Alice spends hours stooping in a park, her back aching and knees trembling, gathering three hundred violets because she desperately wants to appear naturally elegant at tonight's dance. The pattern operates through a cruel feedback loop. The more Alice tries to manufacture effortless belonging, the more effort it actually requires. She replaces their dinner bell with gentle gongs to seem refined, but this backfires when the cook can't express urgency. She carefully protects her hands while washing dishes, then destroys them gathering flowers. Each 'improvement' creates new problems that require even more performance. This exhausting performance shows up everywhere in modern life. The nurse who works double shifts to afford designer scrubs so she'll 'fit in' with doctors, then can't afford the continuing education that would actually advance her career. The parent who maxes out credit cards on their kid's sports equipment and travel teams, believing this will buy their child social acceptance, while missing games due to the extra work required to pay for it all. The employee who spends lunch breaks crafting the perfect social media presence to seem successful, while neglecting the actual skill development that creates real success. The navigation strategy is brutal but liberating: distinguish between authentic improvement and performance. Ask yourself: 'Am I doing this to become better, or to appear better?' Alice's violet-gathering is pure appearance—hours of labor for a fleeting impression. Real belonging comes from developing genuine skills, interests, and character traits that naturally attract your tribe. When you catch yourself in exhausting performance, redirect that energy toward authentic development. When you can name the pattern, predict where it leads, and navigate it successfully—that's amplified intelligence.

The more desperately we perform to belong, the more energy we waste on illusions that never deliver authentic connection.

Why This Matters

Connect literature to life

Skill: Detecting Performance vs. Progress

This chapter teaches how to recognize when you're exhausting yourself maintaining an illusion instead of building real capabilities.

Practice This Today

This week, notice when you're spending more energy appearing successful than actually developing skills—then redirect that energy toward genuine improvement.

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Now let's explore the literary elements.

Key Quotes & Analysis

"In spite of dismaying increases in wages, the Adamses still strove to keep a cook; and, as they were unable to pay the higher rates demanded by a good one, what they usually had was a whimsical coloured woman of nomadic impulses."

— Narrator

Context: Explaining why their household help keeps quitting

This reveals the Adamses' hypocrisy - they want to appear middle-class by having a cook, but won't pay fair wages. The dismissive language shows how they blame the workers instead of examining their own cheap behavior.

In Today's Words:

They wanted the status of having help but were too cheap to pay decent wages, so they only got desperate workers who quit fast.

"I wouldn't go to a Palmer dance if they coaxed me with diamonds."

— Walter Adams

Context: When asked to escort Alice to the dance

Walter sees through the social pretensions that Alice desperately wants to join. His refusal shows both class consciousness and protective instincts - he knows these people look down on his family.

In Today's Words:

Those people think they're better than us, and I wouldn't give them the satisfaction even if they paid me.

"She's got no background."

— Mrs. Adams

Context: Explaining to Walter why Alice needs extra help socially

This phrase captures the brutal reality of class barriers. Mrs. Adams knows that Alice's personality and effort aren't enough - she lacks the automatic advantages that come from family money and connections.

In Today's Words:

She doesn't have the built-in advantages that rich kids get from their families.

Thematic Threads

Class Performance

In This Chapter

Alice spends hours gathering violets to create the illusion of effortless elegance, while her aesthetic home improvements backfire practically

Development

Escalating from earlier chapters - now requiring physical labor and family sacrifice to maintain the performance

In Your Life:

You might exhaust yourself trying to look successful instead of building actual success

Family Sacrifice

In This Chapter

Walter reluctantly agrees to escort Alice despite calling her crowd snobs, moved by her desperate violet-gathering efforts

Development

Building on earlier family tensions - now showing how Alice's ambitions require others' compromise

In Your Life:

Your dreams might be costing family members more than you realize

Hidden Labor

In This Chapter

Alice's hours of stooping, aching back, and trembling knees to gather violets - all to appear naturally elegant

Development

Introduced here - the physical cost of maintaining social illusions

In Your Life:

The effort you put into appearing effortless might be undermining your actual effectiveness

Resource Limitation

In This Chapter

Walter insists on finding a cheap 'tin Lizzie' instead of proper taxi, while Alice makes do with yard violets supplemented by park gathering

Development

Continuing from earlier chapters - family's financial constraints forcing creative but exhausting solutions

In Your Life:

You might be working harder instead of smarter because you're trying to solve the wrong problem

Identity Delusion

In This Chapter

Alice falls into elaborate daydreams about being the belle of the ball with mysterious suitors, while reality requires her to gather her own flowers

Development

Deepening from earlier chapters - fantasy life becoming more elaborate as reality becomes more demanding

In Your Life:

Your daydreams about success might be preventing you from taking practical steps toward it

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You now have the context. Time to form your own thoughts.

Discussion Questions

  1. 1

    Why does Alice spend hours gathering violets instead of simply buying flowers or going without them?

    analysis • surface
  2. 2

    How does Alice's attempt to make their home more refined (replacing the dinner bell with gongs) actually create more problems?

    analysis • medium
  3. 3

    Where do you see people today exhausting themselves trying to 'perform' their way into belonging rather than developing genuine skills or connections?

    application • medium
  4. 4

    When you catch yourself in exhausting performance mode, what's a practical way to redirect that energy toward authentic improvement instead?

    application • deep
  5. 5

    What does Alice's violet-gathering reveal about the difference between working toward genuine goals versus working to maintain an illusion?

    reflection • deep

Critical Thinking Exercise

10 minutes

Performance vs. Progress Audit

Think about an area of your life where you're putting in significant effort. Write down what you're actually doing, then ask: 'Am I doing this to become better, or to appear better?' Create two columns and honestly sort your current efforts into 'Performance' (exhausting, focused on others' opinions) versus 'Progress' (sustainable, focused on genuine improvement).

Consider:

  • •Performance efforts often require constant maintenance and leave you feeling drained
  • •Progress efforts build on themselves and create lasting change
  • •Sometimes what looks like progress is actually performance in disguise

Journaling Prompt

Write about a time when you exhausted yourself trying to fit in somewhere. Looking back, what would genuine belonging have looked like instead? What skills or qualities could you have developed that would have attracted the right people naturally?

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Coming Up Next...

Chapter 6: The Performance Before the Dance

After two hours of careful preparation, Alice stands before her mirror transformed—her hair perfect, her face artfully enhanced, and her mother's painstaking work creating a vision in white. With her triumphant bouquets of violets, she's ready for what might be the most important night of her life.

Continue to Chapter 6
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A Father's Gentle Defense
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The Performance Before the Dance

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