Thrills of a Bell Boy — Background and Themes

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Kiser, Samuel E. (Samuel Ellsworth), 1862-1942, McCutcheon, John T. (John Tinney), 1870-1949 [Illustrator] Project Gutenberg 2018 Not confirmed
Humorous poetry; Bellhops -- Poetry Readers of public-domain and historical texts
Project Gutenberg digital edition en

Edition facts

Words 7,913
Reading time 35 min
Text sections 20

This digital edition of Thrills of a Bell Boy — Background and Themes is described by source-level measurements including 7,913 words, 35 min estimated reading time, and 20 detected text sections.

The text analysis averages about 25.0 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 “Humorous poetry,” connecting these edition facts with the source record’s subject description.

A bellboy's sonnet-sequence in working-class dialect, tracking his infatuation with an actress, his rivalry with a clerk, and his rueful fantasies of wealth, all delivered in a voice that shifts from brash to wistful.
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Editorial Edition Score 4.6/5

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  • Title & short description10 pts
  • Source metadata20 pts
  • Text length15 pts
  • Chapters / structure15 pts
  • EPUB file integrity20 pts

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me the luck, they’ve made it up again.

IF I could have my choice I wouldn’t be The main guy of a kingdom—nix fer me. I’d only wish that I could be as great As one of these gay boys from up the State Imagines that we think he is when he Tilts back his hat and lights his cigarette And does the pouter-pigeon act; I’d let Them have their thrones if I could be as grand As these boys think they are when they “run down” On business trips and let their chests expand And act as though they’d come to buy the town.

The minute one of them gets in he shies Around the telegraph girl, makin’ eyes And wantin’ to know what it costs to send Ten words to Saugatuck or Brady’s Bend, Or dictates to the shorthand girl and tries To make her think he’s Mike from Up-the-Crick— It’s easy work to spot these Johnnies quick: They try to mash the chambermaids up-stairs, And buzz the news-stand lady, and I s’pose They think that we all think they’re millionaires— Hello! There that sweet little actress goes.

I WENT to see the show last night, the one She’s playing in, you know, but all the fun I thought I’d have was spoiled, confound the luck, I bought a forty-cent bouquet to chuck Down at her when the second act was done. I got a seat in front, all right, and, oh! How grand she looked away down there below! I thought of angels every time she’d look Up at the gallery—but when I let My flowers tumble down the villain took And give them to the putty-faced soubrette!

I wish I was the hero of the play She’s actin’ in and had the chance to lay Her head agin my buzzom every night And knock the villain down and hold her tight— I wouldn’t ask to have a cent of pay. And when she’d look up at me sweet and proud I’d feel so glad I’d have to yell out loud: I’ll bet the knock I give the villain when I come to rescue her would make him grunt. And when she wound her arms around me, then— Oh, blame it, there’s Old Morton howlin’ “Front!”

I DON’T feel like I used to feel no more; It seems as though I’d like to go away From where the racket’s goin’ on all day, And have her with me there, and she’d be sore At that rich dude who meets her at the door Back by the stage when she’s got through the play: I wish that she’d get sweet on me and say She never knew what lovin’ was before.

I’ve got a tooth-brush now, and every night I wash my neck and ears: I don’t intend To chew tobacco any more, nor spend My change fer cigarettes; her teeth are white, And if she seen that mine were, too, she might Be liable to love me. Every time She looks at me it kind of seems that I’m All full of something tickel-ish and light.

I’d like it if I knew some way to make My ears stay closer to my head and not Stick out the way they do, as though they’d got Unfastened and hung loose. I wish I’d wake To-morrow so good-lookin’ it would break Her heart unless I’d take her on the spot; And I could lick that dude if he got hot And made rough house when she’d give him the shake.

If I could go away with her to where There wasn’t anybody else at all, And we could set around all day or loll Beside the cricks and never have to care When bells would ring, and all around us there The posies would be growin’ sweet and tall, I’d never mind if it was spring or fall— But still I s’pose she couldn’t live on air.

I THINK I’ll chuck this job and go and try To be a supe with her, and by and by Get speakin’ parts to play, and then—who knows?— Be leadin’ man, at last, and wear dude clo’s. I’d drink champagne whenever I was dry, And have a chance to travel up and down Around the country, seein’ every town, And after every act they’d call fer me; All week I’d only work two afternoons, And nearly everywhere I went I’d see My picture in the windows of saloons.

The speaker of these twenty sonnets is a bellboy who narrates in a deliberately unpolished, colloquial voice—dropping consonants, contracting phrases, and using slang like “nit,” “guy,” and “mebby.” His perspective is limited to the hotel lobby, the stairs, and the telegraph desk, yet his observations are precise: he notes the actress Miss Le Claire’s habit of ringing for stamps, the “pouter-pigeon act” of out-of-town businessmen, and the chambermaids who become targets of flirtation. The poems are not simply comic sketches; they accumulate into a portrait of a young man caught between aspiration and resignation.

A Voice That Refuses Polish

The bellboy’s language is the poem’s most consistent feature. He says “Gee!” and “nit,” drops final consonants (“goin’,” “wishin’”), and uses double negatives (“wouldn’t hardly be no sorrow”). This is not random misspelling but a deliberate register: the sonnet form—traditionally associated with high diction—is filled with the rhythms of spoken American English. The effect is comic but also revealing. When he imagines buying his beloved “a plug hat and a fur-trimmed coat,” the fantasy is rendered in the same plain terms as his actual errands. The voice never rises to formal eloquence, even when the speaker is most moved. In sonnet XIX, the wistful “If yesterday would come to-morrow” is undercut by the same grammatical quirks that mark his everyday speech, making the sentiment feel earned rather than borrowed.

The Hotel as a Stage for Status

The hotel is a vertical social space. The bellboy works the front desk and the upper floors, observing guests who “act as though they’d come to buy the town.” He is acutely aware of hierarchy: the actress earns “a hundred dollars per,” the telegraph girl is a target of flirtation, and the clerk from a department store has married the woman the bellboy admires. His fantasies of revenge—becoming the landlord so that she will “look at me and say / All to herself she wished she knew some way / To not be married”—are grounded in the hotel’s economy of tips, rooms, and front-desk transactions. The setting is not merely background; it determines who can speak to whom and what is possible. The bellboy’s mobility (he goes to rooms, he mails letters) gives him access, but his station keeps him at the edge of the action.

Shifts in Pace and Mood

The sequence moves between brisk, comic observations and slower, more reflective passages. Early sonnets are packed with action: a call from room 748, a rushed errand for stamps, a near-confrontation with a jealous man. The rhythm is quick, with enjambed lines and abrupt exclamations (“Hello! There that sweet little actress goes”). Later sonnets slow down. In sonnet XVIII, the bellboy learns the telegraph operator has been married for a year, and the poem turns inward: “The happy thoughts I used to think before / Are busted up forever.” The final lines of that sonnet—interrupted by “Oh, rats! There’s Morton yellin’ ‘Front’ agen”—snap the reader back to the hotel’s demands. This alternation between reverie and interruption is the book’s structural principle: the bellboy is never allowed to dwell, and the poems themselves mimic that constraint.

Readers should attend to the way Kiser uses the sonnet’s turn—the volta—to pivot between the bellboy’s inner life and the external world of bells and guests. The poems reward rereading for their small, precise details: the cost of a telegram, the weight of a bouquet, the sound of telegraphy. The voice, once tuned to, reveals a character who is neither simple nor merely funny.

It reminded me of standing at the hotel service entrance, counting tips, and feeling that ache for a life just out of reach—same restlessness I found once in Longfellow’s Dante, where the pilgrim’s climb is all yearning, never arrival. That brash voice softening into wistfulness felt like a quiet verse of the Divine Comedy, Longfellow's Translation, Complete — Edition Insights, glimpsed through a service door.

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