A Book for Kids — Reading Notes
Edition facts
This digital edition of A Book for Kids — Reading Notes is described by source-level measurements including 18,831 words, 1 hr 22 min estimated reading time, and 3 detected text sections.
The text analysis averages about 16.7 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 “Children's poetry, Australian,” connecting these edition facts with the source record’s subject description.
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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.
Read the Text
And had a long, long way to go. Each boot was broken at the toe, And he'd a swag upon his back. His billy-can, as black as black, Was just the thing for making tea At picnics, so it seemed to me.
'Twas hard to earn a bite of bread, He told me. Then he shook his head, And all the little corks that hung Around his hat-brim danced and swung And bobbed about his face; and when I laughed he made them dance again. He said they were for keeping flies-- "The pesky varmints"--from his eyes. He called me "Codger". . . "Now you see The best days of your life," said he. "But days will come to bend your back, And, when they come, keep off the track. Keep off, young codger, if you can." He seemed a funny sort of man.
He told me that he wanted work, But jobs were scarce this side of Bourke, And he supposed he'd have to go Another fifty mile or so. "Nigh all my life the track I've walked," He said. I liked the way he talked. And oh, the places he had seen! I don't know where he had not been-- On every road, in every town, All through the country, up and down. "Young codger, shun the track," he said. And put his hand upon my head. I noticed, then, that his old eyes Were very blue and very wise. "Ay, once I was a little lad," He said, and seemed to grow quite sad.
I sometimes think: When I'm a man, I'll get a good black billy-can And hang some corks around my hat, And lead a jolly life like that.
Once a little sugar ant made up his mind to roam-- To fare away far away, far away from home. He had eaten all his breakfast, and he had his ma's consent To see what he should chance to see and here's the way he went-- Up and down a fern frond, round and round a stone, Down a gloomy gully where he loathed to be alone, Up a mighty mountain range, seven inches high, Through the fearful forest grass that nearly hid the sky, Out along a bracken bridge, bending in the moss, Till he reached a dreadful desert that was feet and feet across. 'Twas a dry, deserted desert, and a trackless land to tread, He wished that he was home again and tucked-up tight in bed. His little legs were wobbly, his strength was nearly spent, And so he turned around again and here's the way he went-- Back away from desert lands feet and feet across, Back along the bracken bridge bending in the moss, Through the fearful forest grass shutting out the sky, Up a mighty mountain range seven inches high, Down a gloomy gully, where he loathed to be alone, Up and down a fern frond and round and round a stone. A dreary ant, a weary ant, resolved no more to roam, He staggered up the garden path and popped back home.
Flippity-flop! Flippity-flop! Here comes the butcher to bring us a chop Cantering, cantering down the wide street On his little bay mare with the funny white feet; Cantering, cantering out to the farm, Stripes on his apron and basket on arm. Run to the window and tell him to stop-- Flippity-flop! Flippity-flop!
Harry was a funny man, Harry was a hatter; He ate his lunch at breakfast time and said it didn't matter. He made a pot of melon jam and put it on a shelf, For he was fond of sugar things and living by himself. He built a fire of bracken and a blue-gum log, And he sat all night beside it with his big--black--dog.
I'd like to be a postman, and walk along the street, Calling out, "Good Morning, Sir," to gentlemen I meet, Ringing every door-bell all along my beat, In my cap and uniform so very nice and neat. Perhaps I'd have a parasol in case of rain or heat; But I wouldn't be a postman if . . . The walking hurt my feet. Would you?
As I rode in to Burrumbeet, I met a man with funny feet; And, when I paused to ask him why His feet were strange, he rolled his eye And said the rain would spoil the wheat; So I rode on to Burrumbeet.
As I rode in to Beetaloo, I met a man whose nose was blue; And when I asked him how he got A nose like that, he answered, "What Do bullocks mean when they say 'Moo'?" So I rode on to Beetaloo.
The book opens with a poem titled 'A Very Charming Gentleman,' in which an elderly stranger warns a boy to treat books as companions, not toys. The speaker admits he does not know who the man was, lending the advice an air of mystery. This framing establishes reading as a serious but friendly pursuit, a tone that carries into the dedication, where Dennis addresses readers aged 'over four / And under four-and-eighty.' The dedication promises 'some touch of Youth's rare clowning' and acknowledges the author's own aging hand, suggesting a nostalgic yet playful perspective.
Rhythmic Wordplay and Everyday Wonders
The early poems in the collection rely on strong rhythm and repetition. In 'The Baker,' the speaker imagines the baker's call—'Beeay-ko!'—and the rattle-cart that 'jogs and jolts and shakes.' The poem ends with a twist: the speaker would not be a baker if he could not eat the cakes. This self-aware humor appears again in 'The Dawn Dance,' where the narrator describes blue wrens and yellow-tails 'bobbing here, and bowing there' on the lawn. The birds are treated as 'merry little fairy folk,' and the poem contrasts the early riser's delight with the sleeper who misses the show. Dennis uses simple, concrete details—the wattle-tree, the grey thrush piping—to ground the fantasy in an Australian setting.
Characters with Quirks and Catchphrases
Several poems introduce memorable figures through distinctive speech or appearance. 'The Funny Hatter' and 'The Triantiwontigongolope' (a nonsense insect name) suggest a love for linguistic play. In the excerpt from 'The Boy who Rode into the Sunset,' the protagonist Neville meets a 'little yellow man' who is the Last Sunbeam, and a 'man with the large ears' who acts as a 'head scene-shifter' for the sunset. The yellow man speaks in a patient, explanatory tone, while the large-eared man roars commands. Their dialogue reveals a bureaucratic hierarchy behind the natural world: the sunset is a show that must run on schedule. Neville's confusion mirrors the reader's, as the yellow man explains the mechanics of riding west to catch the evening again.
A Journey Structured by Time Zones
The story 'The Boy who Rode into the Sunset' uses a literal race around the world as its plot. The yellow man instructs Neville to ride the Cloud Horse west, passing through afternoon, midday, dawn, and night to catch up with the same evening. The talisman—a 'Sky Flower' made from a piece of sky—must not be lost. This device turns a scientific concept (Earth's rotation) into a fairy-tale adventure. The instructions are given in a brisk, almost impatient tone: 'you are very dense,' says the yellow man. The journey is presented as simple in theory but bewildering to the boy, and the reader is left to wonder whether Neville will succeed. The excerpt breaks off before the resolution, leaving the outcome uncertain.
Hints of a Larger World Beyond the Poems
The table of contents lists over forty titles, mixing poems and stories. Alongside whimsical entries like 'The Triantiwontigongolope' and 'The Unsociable Wallaby' are more reflective pieces such as 'Growing Up' and 'The Long Road Home.' The dedication's mention of 'Youth's rare clowning' suggests that humor is central, but titles like 'The Boy who Rode into the Sunset' indicate longer narrative experiments. The presence of Australian place names—'Cuppacumalonga,' 'Woolloomooloo,' 'Rockabout'—anchors the collection in a specific landscape. Readers encountering these excerpts can expect a blend of light verse, character sketches, and at least one extended fantasy that plays with time and perspective.
Because the excerpts include only the beginning of 'The Boy who Rode into the Sunset,' readers should approach that story without expecting a complete arc in the sample. The poems, however, stand alone and reward attention to their rhythms and punchlines. Dennis's voice is consistently direct and conversational, often addressing the reader as 'you' or 'my boy.' This intimacy invites a casual, curious reading—one that treats the book as the 'friend' the opening poem recommends.
There’s something tender in how A Book for Kids treats reading as making friends, each rhyme a hand held out. That same gentle warmth lingers in The chutney lyrics: A collection of comic pieces in verse on Indian subjects — Text and Context, where humor feels less like performance and more like shared company. Different shores, same quiet pleasure in words that smile. I keep both near my chair.
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