In This Our Life by Ellen Glasgow
Published 1942 · 480 pages · 127,961 words · about 11 hours at an average pace · Literary Fiction
How hard is In This Our Life to read?
In This Our Life scores 70 out of 100 for difficulty on ReadingRate, making it quite demanding. The score is a weighted composite of nine measures: four of how hard the prose is to parse, five of how hard the meaning is to extract.
- Vocabulary: 68 out of 100
- The text employs a rich and precise vocabulary, featuring words like 'anachronism,' 'hypotaxis,' 'inscrutable,' 'avuncular,' 'sardonic,' 'efficacy,' 'platitude,' and 'pachyderm.' While not excessively archaic or specialized like 'Moby-Dick,' it consistently uses elevated diction that demands a strong vocabulary, placing it above 'The Great Gatsby' but below 'Gravity's Rainbow'. The dialogue, particularly from characters like Minerva, occasionally incorporates dialect, adding another layer of linguistic texture.
- Sentence structure: 72 out of 100
- Glasgow frequently constructs long, complex sentences with multiple clauses, extensive subordination, and parenthetical asides that require careful attention to parse. For instance, descriptions of Asa's inner thoughts often span several lines, creating a dense reading experience reminiscent of Proustian subordination, though without the extreme length of a 'Ulysses' monologue. The narrative flows with a deliberate, often introspective rhythm, demanding sustained engagement from the reader.
- Abstraction: 68 out of 100
- The narrative consistently interweaves concrete events and dialogue with deep philosophical and psychological introspection, primarily through Asa's internal monologues. Characters frequently ponder abstract concepts like freedom, happiness, the nature of love, and the passage of time, moving beyond simple social observation. This blend of the tangible and the theoretical positions it significantly higher than 'The Great Gatsby' but remains grounded enough to avoid the pure abstraction of 'The Waste Land'.
- Information density: 65 out of 100
- The text is dense with internal thought, emotional nuance, and subtle social commentary, requiring readers to process multiple layers of meaning within paragraphs. While the plot progression is relatively slow, the narrative is packed with character analysis, reflections on societal change, and intricate family dynamics. This demands a high level of attention, as every conversation and observation contributes to a complex understanding of the characters and their world, making it more demanding than 'Lolita' but less overwhelming than 'Ulysses'.
- Narrative indirection: 70 out of 100
- The narrative frequently relies on Asa's internal monologues and the unspoken thoughts of other characters, requiring readers to infer the true state of relationships and motivations. For instance, Stanley's 'happiness' is repeatedly questioned by Asa and Lavinia, forcing the reader to discern the underlying truth of her elopement with Peter. This approach demands active interpretation, placing it higher than '1984' but not as disorienting as 'The Unnamable'.
- Symbolic density: 78 out of 100
- The text is rich with symbolic motifs that deepen its meaning, such as the decaying old house representing a vanishing era and the 'new house' symbolizing rootlessness. Recurring symbols like trees, the concept of 'freedom,' and specific objects like Roy's red hat or the 'golden net' of gnats, carry significant thematic weight. This pervasive symbolism, more integrated than 'To Kill a Mockingbird''s singular motif, requires readers to look beyond literal events for deeper understanding.
- Ironic distance: 72 out of 100
- A notable ironic distance exists between the characters' self-perceptions and the author's implied critique, particularly evident in Asa's 'ironic amusement' and Lavinia's self-serving hypochondria. The narrative often highlights the gap between stated ideals (like Roy's 'freedom') and the messy realities of human behavior and societal constraints. This subtle yet consistent authorial stance creates a layer of critical engagement for the reader, akin to 'The Great Gatsby''s simultaneous sympathy and critique.
- Resolution withholding: 68 out of 100
- The excerpt concludes with the immediate aftermath of Stanley and Peter's elopement, leaving the emotional and practical consequences for Roy, Craig, and the family largely unresolved. Minerva's premonition of 'trouble' and her refusal to articulate what she saw further amplify the sense of impending, yet unrevealed, crisis. This deliberate ambiguity about future outcomes and character fates resists easy closure, placing it above 'The Great Gatsby''s more contained narrative.
- Structural complexity: 65 out of 100
- The narrative employs multiple, though clearly delineated, points of view, shifting between Asa, Lavinia, Minerva, and Roy to offer varied perspectives on the central family drama. While generally linear, the text is interspersed with extensive internal monologues and flashbacks, such as Asa's memories of his father's death and Roy's recurring dream sequences, which layer past and present. This requires readers to synthesize information from different subjective lenses, making it more complex than a straightforward chronological account.
How In This Our Life is regarded
In This Our Life holds a literary regard score of 44 out of 100, weighing its place in the canon, its critical reception, its influence on other writers, and the standing of its author. Regard is measured separately from difficulty: a demanding book is not necessarily an admired one.