The Van Dwellers: A Strenuous Quest for a Home — Text and Context

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Paine, Albert Bigelow, 1861-1937 Project Gutenberg 2009 Not confirmed
Housing -- New York (State) -- New York -- Anecdotes; Apartment houses -- New York (State) -- New York -- Anecdotes; City and town life -- Anecdotes Readers of public-domain and historical texts
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Edition facts

Words 29,610
Reading time 129 min
Text sections 4

This digital edition of The Van Dwellers: A Strenuous Quest for a Home — Text and Context is described by source-level measurements including 29,610 words, 2 hr 9 min estimated reading time, and 4 detected text sections.

The text analysis averages about 20.4 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 “Housing -- New York (State) -- New York -- Anecdotes,” connecting these edition facts with the source record’s subject description.

Albert Bigelow Paine's 1901 account of a family's comedic yet grueling search for a New York apartment, structured as a series of moves and misadventures. The narrative relies on recurring images of stairs, janitors, and unwashed dishes to chart the gap between advertised 'improvements' and lived reality.
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Editorial Edition Score 4.5/5

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Read the Text

Woman was first to speak.

"Ah, yes, would you mind telling us--we're from the West, you know--just which are the--the improvements, and which the rooms?"

This was lost on the janitor. He merely thought us stupid and regarded us with pitying disgust as he indicated a rusty little range, and disheartening water arrangements in one corner. There may have been stationary tubs, too, bells, and a dumb waiter, but without the knowledge of these things which we acquired later they escaped notice. What we _could_ see was that there was no provision for heat that we could discover, and no sunshine.

We referred to these things, also to the fact that the only entrance to our parlor would be through the kitchen, while the only entrance to our kitchen would be almost certainly over either a coal-box, an ironing board, or the rusty little stove, any method of which would require a certain skill, as well as care in the matter of one's clothes.

But these objections seemed unreasonable, no doubt, for the janitor, who was of Yorkshire extraction, became taciturn and remarked briefly that the halls were warmed and that nobody before had ever required more heat than they got from these and the range, while as for the sun, he couldn't change that if he wanted to, leaving us to infer that if he only wanted to he could remodel almost everything else about the premises in short order.

We went away in the belief that he was a base pretender, "clad in a little brief authority." We had not awakened as yet to the fulness of janitorial tyranny and power.

We went farther uptown. We reasoned that rentals would be more reasonable and apartments less contracted up there.

Ah, me! As I close my eyes now and recall, as in a kaleidoscope, the perfect wilderness of flats we have passed through since then, it seems strange that some dim foreboding of it all did not steal in to rob our hearts of the careless joys of anticipation.

But I digress. We took the elevated and looked out the windows as we sped along. The whirling streets, with their endless procession of front steps, bewildered us.

By and by we were in a vast district, where all the houses were five-storied, flat-roofed, and seemed built mainly to hold windows. This was Flatland--the very heart of it--that boundless territory to the northward of Central Park, where nightly the millions sleep.

Here and there were large signs on side walls and on boards along the roof, with which we were now on a level as the train whirled us along. These quoted the number of rooms, and prices, and some of them were almost irresistible. "6 All Light Rooms, $22.00," caught us at length, and we got off to investigate.

They were better than those downtown. There was a possibility of heat and you did not get to the parlor by climbing over the kitchen furniture. Still, the apartment as a whole lacked much that we had set our hearts on, while it contained some things that we were willing to do without.

It contained, also, certain novelties. Among these were the stationary washtubs in the kitchen; the dumb-waiter, and a speaking-tube connection with the basement.

The janitor at this place was a somber Teutonic female, soiled as to dress, and of the common Dutch-slipper variety.

We were really attracted by the next apartment, where we discovered for the first time the small button in the wall that, when pressed, opens the street door below. This was quite jolly, and we played with it some minutes, while the colored janitor grinned at our artlessness, and said good things about the place. Our hearts went out to this person, and we would gladly have cast our lot with him.

Then he told us the price, and we passed on.

I have a confused recollection of the other flats and apartments we examined on that first day of our career, or "progress," as the recent Mr. Hogarth would put it. Our minds had not then become trained to that perfection of mentality which enables the skilled flat-hunter to carry for days visual ground-plans, elevations, and improvements, of any number of "desirable apartments," and be ready to transcribe the same in black and white at a moment's notice.

I recall one tunnel and one roof garden. Also one first floor with bake-shop attachment. The latter suggested a business enterprise for the Little Woman, while the Precious Ones, who were with us at this stage, seemed delighted at my proposition of "keeping store."

The Van Dwellers opens with a confession: the narrator and his wife have never lived in New York, and this inexperience sets the tone for a sequence of rented rooms that never quite match their descriptions. Paine structures the book as a chronological series of moves, each chapter documenting a new flat, a new janitor, and a fresh set of disappointments. The first apartment is introduced via a newspaper advertisement promising 'four large light rooms and improvements' for eighteen dollars; upon arrival, the rooms turn out to be 'gloomy closets' and the improvements remain unidentified. This gap between printed promise and physical reality becomes the book's central comic engine.

Stairs, Janitors, and the Geography of Disappointment

Throughout the excerpts, vertical movement is a recurring structural device. The narrator and his wife 'stumble up four dim flights of stairs' to their first flat; later, a prospective maid climbs to their door. Stairs mark the threshold between the public street and the private failure of each apartment. Janitors appear as gatekeepers: the first one leads them through a 'black passage-way' without explanation; later, a janitor named Thomas imposes 'austere stairway restrictions' on the family's children. Paine uses these figures to embody the landlord's negligence and the tenant's powerlessness. The physical effort of climbing becomes a metaphor for the uphill struggle of finding a home that is both affordable and habitable.

Unwashed China and the Test of Character

One of the most vivid recurring images in the excerpts is the kitchen sink full of unwashed dishes. When the narrator advertises for a maid, each applicant 'began to make excuses and back away when she looked at that unwashed china.' Only Ann, the reformed drinker, stays—her charity 'greater than ours,' as the narrator notes. The sink becomes a litmus test for loyalty and desperation. Later, when the Little Woman writes from out of town assuming Ann is 'taking good care' of the men, the reader knows the truth: Ann has just arrived and the sink is still full. Paine uses this domestic detail to expose the gap between the household's public image and its private chaos.

The Rhythm of Complaint and Repair

Paine structures the narrative around a cycle: a promising move, a period of tolerable living, then decay and complaint. In the Monte Cristo apartments, the family stays a full year—'the first we had passed under any one roof'—but the building begins to deteriorate. The landlord, Mr. Griffin, is 'not over-exacting in the matter of rent' but neglects 'leaky plumbing, sagging doors, rattling windows.' The janitor, Thomas, compensates with clean steps and strict rules. Every evening, the Little Woman 'recited to me the story of her day's wrongs,' a ritual that replaces action. The book's humor arises from this static loop: the family never escapes the pattern, only moves to a new iteration of the same problem.

Voice and the Unreliable Narrator

The narrator's self-deprecating tone is a key structural element. He admits his ignorance in the first sentence: 'We had never lived in New York. This fact will develop anyway.' He frames the entire quest as a 'downfall' that began with buying newspapers. His voice is wry but not bitter, and he often undercuts his own competence. When interviewing maids, he is 'almost irritated' by a shrill-voiced applicant, yet he cannot retain her. He feebly opens the door to Ann. The Little Woman is the practical one, but she is often absent, leaving the narrator to manage alone. This asymmetry—between the narrator's self-awareness and his repeated failures—creates a consistent comic distance between what he reports and what he understands.

Readers should attend to the way Paine uses physical details—stairs, sinks, janitors, empty bottles—as shorthand for larger failures. The book does not resolve the housing problem; it simply ends with the family still searching. The value lies in the accumulation of specific, failed attempts, each rendered with a precise eye for the absurdity of expecting a home from a market that sells only apartments. The Van Dwellers is best read as a series of set pieces rather than a linear argument, each chapter a new variation on the same comic theme.

Reading Paine’s weary stair-climbs, those identical unwashed dishes, I found myself thinking of a different kind of endurance. Clara Barton’s relentless quiet work, the patient accumulation of small, necessary acts, felt like the same stubborn spirit, just turned toward a graver purpose. The Life of Clara Barton, Founder of the American Red Cross (Vol. 1 of 2) — Edition Insights holds that same ache for a place, only her home was always other people.

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