The Guarded Heights — Story, Setting & Ideas
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George had not fancied the revolution had unfurled banners so easily discernible. He became self-conscious. His parents' apprehension made matters more difficult for him. They, at least, were too old to revolt.
"I suppose I have," he acknowledged shortly.
His father used the tone of one announcing an unspeakable catastrophe.
"You mean you've had trouble with Miss Sylvia."
"George!" his mother cried, aghast. "You've never been impertinent with Miss Sylvia!"
"She thinks I have," George said, "so it amounts to the same thing."
His father's face twitched.
"And you know Old Planter can put us out of here without a minute's notice, and where do you think we'd go? How do you think we'd get bread and butter? You talk up, young man. You tell us what happened."
"I can't," George said, sullenly. "I can't talk about it. You'll hear soon enough."
"I always said," his mother lamented, "that Georgie wasn't one to know his place up there."
"Depends," George muttered, "on what my place is. I've got to find that out. Look! You'll hear now."
A bald-headed figure in livery, one of the house servants, glided toward them through the shrubbery, over that vanished boundary line, with nervous haste. George squared his shoulders. The messenger, however, went straight to the older man.
"Mr. Planter's on his ear, and wants to see you right off in the library. What you been up to, young Morton?"
George resented the curiosity in the pallid, unintelligent eyes, the fellow's obvious pleasure in the presence of disaster. It would have appeased him to grasp those sloping shoulders, to force the grinning face from his sight. A queer question disturbed him. Had Sylvia felt something of the sort about him?
"Come on," the elder Morton said. "It's pretty hard at my age. You'll pay for this, George."
"Old Planter would never be that unfair," George encouraged him.
"Georgie! Georgie!" his mother said when the others were out of sight, "what have you been up to?"
He walked closer and placed his arm around her shoulders.
"I've been getting my eyes opened," he answered. "I never ought to have listened to them. I never ought to have gone up there. I did say something to Miss Sylvia I had no business to. If I'd been one of her own kind, instead of the son of a livery stable keeper, I'd have got polite regrets or something. It's made me realize how low I am."
"No," she said with quick maternal passion. "You're not low. Maybe some day those people'll be no better than we are."
"I'd rather I was no worse than they are. And I will be. I won't put up with it. If some people have to be treated like dirt, I'm going to help do the treating."
"That's no right way of thinking," she warned. "It's money makes the mare go."
But in Sylvia's case, George admitted, there was other propulsion than that; something more fragile, and harder to understand or capture for one's self.
"Don't you worry, I'll make money," he said.
She glanced up quickly.
A brisk masculine voice volleyed through the shrubbery:
"Young Morton! I say, young Morton!"
"It's Mr. Lambert," she breathed. "Go quick."
George remembered what Sylvia had said about someone else having the strength.
"Can't you guess, Ma, what the young lady's brother wants of me?"
The bitterness left his face. His smile was engaging.
"To give me the devil."
"Young Morton! Young Morton!"
"George," she begged, "don't have any trouble with Mr. Lambert."
She watched him with anxious eyes, failing to observe, because she was his mother, details that informed his boasts with power. His ancestry of labour had given him, at least, his straight, slender, and unusually muscular body, and from somewhere had crept in the pride, just now stimulated, with which he carried it. His wilful, regular features, moreover, guarded by youth, were still uncoarsened.
He found Lambert Planter waiting beyond the old boundary behind a screen of bushes, his hands held behind his back. In his face, which had some of Sylvia's beauty, hardened and enlarged, dwelt the devil George had foreseen.
George nodded, feeling all at once at ease. He could take care of himself in an argument with Lambert Planter. No such distances separated them as had widened beyond measure a little while back between him and Sylvia. He wondered if that conception sprang from Lambert, or if it came simply from the fact that they were two men, facing each other alone; for it was from the first patent that Sylvia had asked her brother to complete a punishment she had devised as fitting, but which she had been incapable of carrying out herself. Lambert, indeed, brought his hands forward, disclosing a whip. It was a trifle in his way as he took off his coat.
"That's right," George said. "Make yourself comfortable."
"You won't help matters by being impertinent, Morton."
Lambert's voice contrasted broadly with George's round, loud tones. While, perhaps, not consciously affected, its accents fell according to the custom of the head master of a small and particular preparatory school. George crushed his instinct to mock. What the deuce had he craved ever since his encounter with Sylvia unless it was to be one with men like Lambert Planter? So all he said was:
"What's the whip for?"
"You know perfectly well," Lambert answered. "There's no possible excuse for what you said and did this afternoon. I am going to impress that on you."
"You mean you want a fight?"
"By no means. I wouldn't feel comfortable fighting a man like you. I'd never dreamed we had such a rotten person on the place. Oh, no, Morton. I'm going to give you a good horse-whipping."
George's chin went out. His momentary good-humour fled.
"If you touch me with that whip I'm likely to kill you."
Without hesitating Lambert raised the whip. George sprang and got his hands on it, intent only on avoiding a blow that would have carried the same unbearable sting as Sylvia's riding crop. Such tactics took Lambert by surprise. George's two hands against his one on the stock were victorious. The whip flew to one side. Lambert, flushing angrily, started after it. George barred his path, raising his fists.
"You don't touch that thing again."
Lambert's indecision, his hands hanging at his sides, hurt George nearly as much as the lashing would have done. He had to destroy that attitude of sheer superiority.
"I'm not sure you're a man," he said, thickly, "but you tried to hit me, so you can put your pretty hands up or take it in the face."
He aimed a vicious blow. Lambert side-stepped and countered. George's ear rang. He laughed, his self-respect rushing back with the keen joy of battle. In Lambert's face, stripped of its habitual repression, he recognized an equal excitement. It was a man's fight, with blood drawn at the first moment, staining both of them. Lambert boxed skillfully, and his muscles were hard, but after the first moment George saw victory, and set out to force it. He looked for fear in the other's eyes then, and longed to see it, but those eyes remained as unafraid as Sylvia's until there wasn't left in them much of anything conscious. As a last chance Lambert clinched, and they went down, fighting like a pair of furious terriers. George grinned as he felt those eclectic hands endeavouring in the most brotherly fashion to torture him. He managed to pin them to the ground. He laughed happily.
"Thought you hated to touch me."
"You fight like a tiger, anyway," Lambert gasped.
"I know when I'm through."
George didn't release him at once. His soul expanded with a sense of power and authority earned by his own effort. It seemed an omen. It urged him too far.
"Then," he mused, "I guess I'd better let you run home and tell your father what I've done to you."
"That," Lambert said, "proves I was right, and I'm sorry I fought you."
George tried to think. He felt hot and angry. Was the other, after all, the better man?
"I take it back," he muttered. "Ought to have had enough sense to know that a fellow that fights like you's no tattle-tale."
George's sense of power grew. He couldn't commence too soon to use it.
"See here, Mr. Planter, I came up here to help with some horses your people didn't know how to handle, and let myself get shifted to this other job; but I'm not your father's slave, and anyway I'm getting out."
He increased the pressure on Lambert's arms.
"Just to remind you what we've been fighting about, and that I'm not your slave, you call me Mr. Morton, or George, just as if I was about as good as you."
Lambert smiled broadly.
"Will you kindly let me go--George?"
George sprang up, grinning.
"How you feel, Mr. Lam----" He caught himself--"Mr. Planter?"
Lambert struggled to his feet.
"Quite unwell, thanks. I'm sorry you made such a damned fool of yourself this afternoon. We might have had some pretty useful times boxing together."
"I'd just as leave tell you," George said, glancing away, "that I never intended to say it. I didn't realize it myself until it was scared out of me."
Lambert put on his coat.
"It won't bear talking about."
"It never hit me," George said, huskily, "that even a cat couldn't look at a queen."
"Perfectly possible," Lambert said as he walked off, feeling his bruises, "only the queen mustn't see the cat."
George went, obliterating as best he could the souvenirs of battle. Water, unfortunately, was a requisite, and the nearest was to be found at his own home. His mother gasped.
"You did! After what I said!"
At the pump he splashed cold water over his face and arms.
"I thrashed him," he spluttered.
"I guess that settles it for your father and me."
"Young Planter won't tell anybody," George assured her. "Although I don't see how he's going to get away with it unless he says he was run over by an automobile and kicked by a mule."
"What's come over you?" she demanded. "You've gone out of your head."
He dodged her desire for details. As Lambert had said, the thing wouldn't bear talking about. For the first time in his life he stood alone, and whatever he accomplished from now on would have to be done alone.
He saw his father striding toward them, the anxious light gone from his eyes. George experienced a vast relief.
"Father looks a little more cheerful," he commented, drying his face.
"Get supper, Ma," the man said as he came up.
She hesitated, held by her curiosity, while he turned on George.
"I don't wonder you couldn't open your mouth to me. You're to be out of here to-morrow."
"I'd made up my mind to that."
"And Old Planter wants to see you at nine o'clock to-night."
"Since you and Ma," George said, "seem on such good terms with him I suppose I'll have to go."
"Thank the Lord we are," his father grumbled. "I wouldn't have blamed him if he had packed us all off. He was more than fair. I've looked after you so far, but you'll have to shift for yourself now."
"And the only thing I didn't like about it," George mused, "was leaving you and Ma."
"What did he say to Miss Sylvia?" his mother whispered.
"Said he couldn't get along without her, and was going to have her."
He might have been speaking of one who had ventured to impersonate the deity.
"And he touched her! Put his arms around her!"
The horror in his mother's face grew.
"Georgie! Georgie! What could you have been thinking of?"
He leaned against the pump.
"I'm thinking now," he said, softly, "it's sort of queer a man's father and mother believe there's any girl in the world too good for their son."
"Lots of them," his father snapped. "Sylvia Planter most of all."
"Oh, yes," his mother agreed.
"Then listen," he said, peremptorily. "I don't think so. I told her I was going to have her, and I will. Just put that down in your books. I'll show the lot of you that I'm as good as she is, as good as anybody."
The late sun illuminated the purpose in his striking face.
"Impertinent servant!" he cried. "Stable boy! Beast! It's pretty rough to make her marry all that. It's my only business from now on."
He went to his room, leaving his parents aghast. With a nervous hurry he rid himself of his riding breeches, his puttees, his stock.
"That," he told himself, "is the last time I shall ever wear anything like livery."
When he had dressed in one of his two suits of ordinary clothing he took the broken riding crop and for a long time stared at it as though the venomous souvenir could fix his resolution more firmly. Once his hand slipped to the stock where Sylvia's fingers had so frequently tightened. He snatched his hand away. It was too much like an unfair advantage, a stolen caress.
His mother's voice drifted to him tentatively.
"Come and get your supper."
He hid the broken crop and went out. His father glanced disapproval.
"You'd do better to wear Old Planter's clothes while you can. It's doubtful when you'll buy any more of your own."
George sat down without answering. Since his return from the ride that afternoon his parents and he had scarcely spoken the same language, and by this time he understood there was no possible interpreter. It made him choke a little over his food.
The others were content to share his silence. His father seemed only anxious to have him away; but his mother, he fancied, looked at him with something like sorrow.
Afterward he fled from that nearly voiceless scrutiny and paced one of the park paths, counting the minutes until he could answer Old Planter's summons. He desired to have the interview over so that he could snap every chain binding him to Oakmont, every chain save the single one Sylvia's contempt had unwittingly forged. He could not, moreover, plan his immediate future with any assurance until he knew what the great man wanted.
"Only to make me feel a little worse," he decided. "What else could he do?"
What, indeed, could a man of Planter's wealth and authority not do? It was a disturbing question.
Through the shrubbery the lights of the house gleamed. The moonlight outlined the immense, luxurious mass. Never once had he entered the great house. He was eager to study the surrounding in which women like Sylvia lived, which she, to an extent, must reflect.
In that serene moonlight he realized that his departure, agreeable and essential as it was, would make it impossible for him during an indefinite period to see that slender, adolescent figure, or the features, lovely and intolerant, that had brought about this revolution in his life. He acknowledged now that he had looked forward each day to those hours of proximity and contemplation; and there had been from the first, he guessed, adoration in his regard.
It was no time to dwell on the sentimental phase of his situation. He despised himself for still loving her. His approaching departure he must accept gladly, since he designed it as a means of coming closer--close enough to hurt.
He wondered if he would have one more glimpse of her, perhaps in the house. He glanced at his watch. He could go at last. He started for the lights. Would he see her?
At the corner of the building he hesitated before a fresh dilemma. His logical entrance lay through the servants' quarters, but he squared his shoulders and crossed the terrace. It was impossible now that he should ever enter the house in which she lived by the back door.
It was a warm night, so the door stood open. The broad spaces of the hall, the rugs, the hangings, the huge chairs, the portraits in gilt frames against polished walls, the soft, rosy light whose source he failed to explore, seemed mutely to reprove his presumption.
He rang. He did not hear the feet of the servant who answered. The vapid man that had trotted for his father that afternoon suddenly shut off his view.
"You must wear rubbers," George said.
"What you doing here? Go 'round to the back."
"Mr. Planter," George explained, patiently, "sent for me."
"All right. All right. Then go 'round to the back where you belong."
George reached out, caught the other's shoulder, and shoved him to one side. While the servant gave a little cry and struggled to regain his balance, George walked in. A figure emerged painfully from an easy chair in the shadows by the fireplace.
"What's all this, Simpson?"
The polished voice gave the impression of overcoming an impediment, probably a swollen lip.
"It's young Morton, Mr. Lambert," Simpson whined. "I told him to go to the back door where he belongs."
"What an idea!" Lambert drawled. "Enter, Mr. Morton. My dear Mr. Morton, what is the occasion? What can we do for you? I must beg you to excuse my appearance. I had a trifling argument with my new hunter this afternoon."
"Must be some horse."
None the less, he felt a bruise. It would have been balm to destroy Lambert's mocking manner by a brusque attack even in this impressive hall.
"Your father sent for me."
"Shall I put him out, sir?" Simpson quavered.
Lambert burst into a laugh.
"I shouldn't try it. We can't afford too many losses in one day. Go away, Simpson, and don't argue with your betters. You might not be as clever as I at explaining the visible results. I'll take care of Mr. Morton."
Simpson was bewildered.
"Quite so, sir," he said, and vanished.
"My father," Lambert said, "is in the library--that first door. Wait. I'll see if he's alone."
Painfully he limped to the door and opened it, while George waited, endeavouring not to pull at his cap.
"Father," Lambert said, smoothly, "Mr. Morton is calling."
A deep voice, muffled by distance, vibrated in the hall.
"What are you talking about?"
Lambert bowed profoundly.
"Mr. Morton from the lodge."
George stepped close to him.
"Want me to thrash you again?"
Lambert faced him without panic.
"I don't admit that you could, but, my dear--George, I'm too fatigued to-night to find out. Some day, if the occasion should arise, I hope I may. I do sincerely."
He drew the door wide open, and stepped aside with a bow that held no mockery. A white-haired, stately woman entered the hall, and, as she passed, cast at George a glance curiously lacking in vitality. In her George saw the spring of Sylvia's delicacy and beauty. Whatever Old Planter might be this woman had something from the past, not to be acquired, with which to endow her children. George resented it. It made the future for him appear more difficult. Her voice was in keeping, cultured and unaffected.
"Mr. Planter is alone, Morton. He would like to see you."
She disappeared in a room opposite. George took a deep breath.
"On that threshold," Lambert said, kindly, "I've often felt the same way, though I've never deserved it as you do."
George plunged through and closed the door.
The room was vaster than the hall, and darker, impressing him confusedly with endless, filled book-shelves; with sculpture; with a difficult maze of furniture. The only light issued from a lamp on a huge and littered table at the opposite end.
At first George glanced vainly about, seeking the famous man.
"Step over here, Morton."
There was no denying that voice. It came from a deep chair whose back was turned to the light. It sent to George's heart his first touch of fear. He walked carefully across the rugs and around the table until he faced the figure in the chair. He wanted to get rid of his cap. He couldn't resist the temptation to pull at it; and only grooms and stable boys tortured caps.
Wadsworth Camp's The Guarded Heights (1921) opens with a declaration of its protagonist's consuming ambition: George Morton conceives the 'preposterous idea that Sylvia Planter ought to belong to him.' The novel's structure, divided into five parts—Oakmont, Princeton, The Market-Place, The Forest, The New World—traces George's ascent from a livery stable to the social heights of the Planter estate. The title itself signals a central tension: heights are guarded, and the narrative repeatedly returns to physical and social thresholds—boundaries drawn, hands crushed, terraces crossed—that dramatize the struggle for access.
A Four-Part Arc of Ascent
The novel's division into parts—Oakmont, Princeton, The Market-Place, The Forest, The New World—suggests a deliberate geographical and social progression. The opening section establishes George's origins in the village of Oakmont, where his father's livery business fails and the Planter estate absorbs his family. The second part moves to Princeton University, a setting that promises intellectual and social elevation. The third, The Market-Place, implies a shift to commerce or professional life, while The Forest and The New World hint at further transformation. This structure mirrors George's own trajectory: from a groom who refuses to be 'old Planter's servant' to a man who dares to claim Sylvia. The five-part framework, however, also introduces a cyclical element—the return to a 'forest' and a 'new world'—suggesting that ascent may not be linear.
Recurring Images of Physical Struggle
Camp's prose repeatedly emphasizes physical force and restraint. When Sylvia announces her engagement, George 'caught her hands, and crushed them as if he would make them a part of his own flesh.' The scene is charged with bodily power: she fights, gasping 'You hurt! I tell you you hurt!' and later raises her hands to her face. This moment echoes an earlier passage where George watches Sylvia lift her riding crop, 'her face disclosing a temper to match his own.' The riding crop, the crushed hands, the grasping—these images of physical control recur, linking George's desire to a kind of possessive violence. The narrative does not condemn or endorse this; it simply registers the intensity of his grip, both literal and figurative.
Movement Between Scenes: Thresholds and Transitions
The novel's movement between scenes is often marked by thresholds: the boundary of the Planter estate drawn around the Morton house, the terrace where Sylvia's announcement is made, the garden that retains 'its former aspect' while George's outlook changes. These liminal spaces highlight moments of decision or revelation. George's realization that he must find a new road—'no matter how forbidding the places it might thread'—occurs on the terrace, a transitional zone between house and garden. Similarly, the opening paragraph describes the idea of possessing Sylvia arriving 'all at once, unexpectedly, destroying his dreary outlook, urging him to fantastic heights, and, for that matter, to rather curious depths.' The language of heights and depths, of sudden shifts, pervades the narrative, making each scene change feel like a descent or ascent.
Voice and Perspective: George's Restless Interior
The narrative is filtered closely through George Morton's consciousness. We learn that he 'never could be certain when he first conceived the preposterous idea,' and his thoughts are rendered in free indirect discourse: 'How could he let her go to some man whose arms would furnish an inviolable sanctuary?' The voice is restless, ambitious, and self-aware—George acknowledges his jealousy and his 'altitude of jealousy' toward his employer. Yet the narrative also withholds judgment, allowing George's perspective to dominate without overt commentary. This limited viewpoint means that Sylvia remains somewhat opaque; her motives are inferred rather than known. The reader is placed inside George's drive, sharing his urgency and his blind spots.
Readers approaching The Guarded Heights should attend to the way Camp uses setting as a psychological marker. The movement from Oakmont to Princeton to the marketplace is not merely geographical; it charts George's internal shifts between aspiration and frustration. The recurring imagery of hands—grasping, crushing, releasing—offers a tactile thread through the narrative. The novel's title, finally, is not a promise of triumph but a description of the obstacles that define George's pursuit.
There’s a particular tenderness in watching a soul search for its place, as Camp’s young man does among those guarded heights, and I find myself reminded of another quiet seeker. Coelebs also climbs, though his path is domestic, a careful moral ascent. Both books whisper the same old truth: we are all, gently, looking for a worthy home. Coelebs In Search of a Wife — Reading Notes holds that same quiet ache.
Evelyn Johnson
4 weeks ago-
Jessica Harrell - 1 month ago
I picked up 'The Guarded Heights' expecting a gripping thriller, but instead found a tedious romance with cardboard characters. The dialogue is stilted, and the plot is predictable. The hero is arrogant, and the heroine's constant helplessness grated on me. The writing is melodramatic and clichéd, with overly flowery descriptions that slow the pace. Overall, an unsatisfying read that lacks character development and excitement. I wouldn't recommend it. -
Jacqueline Vaughn - 2 weeks ago
Sidney McCall's 'The Guarded Heights' is a thrilling romance that transports you to the Swiss Alps, filled with danger and passionate love. The hero, Roderick Ferris, is brooding and mysterious, and the heroine, Elinor, is strong and independent. The plot twists keep you guessing, and the descriptions of the mountain landscapes are breathtaking. This is a perfect blend of adventure and romance, showcasing McCall's talent for creating atmospheric tension and complex characters. A truly enjoyable read. -
Darren Williamson - 1 week ago
'The Guarded Heights' offers a good old-fashioned romantic adventure with a touch of espionage. The setting in the Alps is vividly described, and the chemistry between the leads is believable. However, some of the plot points feel convenient, and the villain is a bit one-dimensional. Still, if you're in the mood for a classic love story with a bit of intrigue, this won't disappoint, though it's not particularly groundbreaking.
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Owen Wilson
1 week ago