Pansy in Paperback

At the height of her popularity Isabella’s books were published in several languages and sold all over the world.

She had a large fan base in England, and in the 1890s a British publisher took the unusual step of publishing Isabella’s novels as pamphlets. Today, we’d call them paperback books.

Cover of Four Girls at Chautauqua. Printed in color with Victorian-era borders and flourishes. A central illustration shows three young women dressed in gowns and bonnets of the 1890s on the deck of a boat. Two of the ladies are seated while the third stands facing them. In the background other people stand at the railing and look out over the water at the coastline in the distance.

S. W. Partridge & Co. of London advertised the books as “Partridge’s Cheap Pansy Series.” Each edition included a list of the available titles in the series:

A portion of the front matter contained in the books announcing Partridge's Cheap "Pansy" series at fourpence each. Other books in the series:
Mrs. Solomon Smith Looking On 
Links in Rebecca's Life
Chrissy's Endeavour
The King's Daughter
Ester Ried
Ester Ried Yet Speaking
Ruth Erskine's Crosses
Chautauqua Girls at Home
Three People
Wise an Otherwise
An Endless Chain

The novels measured 7-1/2” by 10-3/4”, making them slightly smaller than the 8-1/2 by 11” standard paper Americans use today. They were only 64 pages long, but thanks to their 2-column layout and small type, each novel was complete and compact enough to fit into a lady’s bag.

Page one of Four Girls at Chautauqua. The text is formatted in two columns in small type.

In fact, Partridge & Co. published them particularly for women travelers. They were sold at newsstands in railway stations throughout England and cost just four pennies.

A portion of the cover of Four Girls at Chautauqua, showing the price of the book: fourpence.

Each book featured a beautifully embellished, full-color cover that illustrated a particular scene from the story. Here’s the cover for Chautauqua Girls at Home:

Cover of Chautauqua Girls at Home. Printed in color with Victorian-era borders and flourishes. A central illustration shows a young woman seated at a piano, playing and singing. Standing behind her are a young woman and two young men, each holding music books and singing.

The cover art for Ruth Erskine’s Crosses shows the moment Ruth’s father introduced her to Judge Burnham.

Cover of Ruth Erskine's Crosses. Printed in color with Victorian-era borders and flourishes. A central illustration shows an older man in coat and hat introducing a young woman to an older man who is in the process of removing his hat. In the background are two other women. One is removing her coat while the other unties the cords on a large box.

What do you think of the depiction of this important scene? Is that how you pictured Judge Burnham when you first read Ruth Erskine’s Crosses?

The cover for Julia Ried shows the moment Julia went to apply for the bookkeeping job at the box factory.

Cover of Julia Ried. Printed in color with Victorian-era borders and flourishes. A central illustration shows a young woman dressed in coat and bonnet and carrying a parasol. She has just entered a room and her hand is still on the doorknob. She faces an older man dressed in a suit with a watch fob and chain in the pocket of his waistcoat. The room he is in contains boxes, a table with books on top and shelves with large books or bound ledgers.

In addition to the cover, each book had anywhere from five to nine black and white illustrations. This one, in Julia Ried, depicts the moment Dr. Douglass introduced Julia to Mrs. Tyndale.

Illustration of a man in 1890s clothing introducing a young woman wearing cape and bonnet to an older woman who is wearing a fashionable gown and a cap.

Mottos were very popular in the 1890s, and this motto appeared at the end of Julia Ried:

Your faith should not stand in the wisdom of men, but in the power of God. (I Cor. II. 5.)

It very nicely sums up one of the lessons Julia learned in the story.

Often, mottoes like this one were used as inexpensive sources of artwork. Ladies cut them from the pages of books and magazines and pasted them into scrapbooks or framed them to hang on the wall.

Cover of Ester Ried Yet Speaking. Printed in color with Victorian-era borders and flourishes. A central illustration shows a young girl sitting on the floor beside a vase holding two white flowers.

Ester Ried Yet Speaking also ends with a motto related to the story:

Let us not be weary in well doing. (Cal. VI. 9.)

The cover for Interrupted illustrates the moment Claire Benedict learned her father’s money was gone and the family was bankrupt.

Cover of Interrupted. Printed in color with Victorian-era borders and flourishes. A central illustration shows a young woman dressed in black facing three men who are seated, each holding their hats and walking sticks. Beside the young woman is seated an older woman also dressed in black.

One of the black-and-white illustrations shows the moment Claire suggests to her students that they take on the job of cleaning up the church sanctuary:

Illustration of Claire seated as the piano, one hand on the keyboard, but she has turned slightly to face five girls who are standing nearby. Caption: "This suggestion for a moment struck them dumb."

It wasn’t uncommon for the titles of Pansy’s novels to be changed when they were published in other countries. One Commonplace Day was one such novel; in England it was renamed Wise to Win:

Cover of Wise to Win. Printed in color with Victorian-era borders and flourishes. A central illustration shows a young woman and young man conversing in a parlor or living room. In the background are two women, one standing and one seated at a table near a fireplace.

These paperback books all have some wear and tear, but considering the fact that they’re over 130 years old, they are in remarkably good shape. Perhaps they’ll last another hundred years for a new generation of Pansy readers to enjoy!

What do you think of these paperbacks?

Do you have a favorite cover?

Click here to read a previous post about mottos.

New Year’s Day Calls in Pansy’s Books

“I have spent this New Year’s day in receiving calls,” wrote Miss Docia Myers (in Isabella’s novel Docia’s Journal). “The whole thing is a sham. I don’t believe in that sort of calls. If one could see only one’s good friends, and exchange greetings, it would be pleasant; but this passing compliments with people for whom one doesn’t care a pin, is utterly distasteful to me.”

Not everyone shared Docia’s opinion. In the mid-to-late 1800s, the tradition of paying New Year’s calls was one of the most entertaining—and least formal—of society conventions. Isabella was very familiar with the custom and wrote about it in several of her novels.

Here’s how New Year’s Day calls worked:

On New Year’s Day ladies—married and unmarried—remained at home to receive the calls of their gentlemen friends. The ladies dressed in their finest, and made their parlors as bright and cheerful as possible so as to welcome the gentlemen in from the cold.

Waiting for Calls on New Year’s Day by Winslow Homer.

Julia Ried (in Isabella’s novel of the same name) wore her very best for the occasion:

Didn’t I blossom out on New Year’s morning! Talk of Solomon arrayed in all his glory; it didn’t seem to me that he could have compared with me.

According to custom, ladies began receiving New Year’s calls beginning at 10:00 a.m. and had to be prepared to welcome and entertain any man who presented himself for the next twelve hours.

Gentlemen making New Year’s Day calls, from Hill’s Manual of Social and Business Forms (1888).

Gentlemen were responsible for calling upon every woman of their acquaintance. They could pay their calls alone, or they could join a group of friends and call upon the ladies together. The calling card below—printed especially for 1877 New Year’s calls—shows the names of six young men who made the rounds together.

The men went from house to house, their visits lasting only about ten or fifteen minutes before they were off to pay their next call. In some cases a gentleman’s visit was so short, he didn’t even take off his hat, coat, or gloves.

Julia Ried enjoyed the whirlwind, saying:

It was my first experience in that scene of the whisking in and out of half a dozen gentlemen at a time, so constantly followed by half a dozen more, that presently one lost one’s balance, and ceased to remember people as individuals, but as number forty-five or sixty-two, as the case might be, and, as the day whirled on, was dimly conscious of but one idea—an eager desire to reach a higher number than Mrs. Symonds or Miss Hervey, and Mrs. or Miss anybody else. I thought it delightful.

While the gentlemen discussed the weather, paid the ladies compliments, and wished them a prosperous new year, the ladies served refreshments.

Some women offered simple plates of fruits, cakes, and breads, with coffee and tea.

Fresh fruit, something of a rarity in winter, was also a welcome offering.

More ambitious hostesses set out full buffets, with a menu that might include turkey, oysters, ham, or roast beef, as well as hot side dishes.

The larger the menu, the more chances it included alcohol. Ale, wine, champagne, or a festive punch made with a whiskey base were regularly served by hostesses.

It’s not hard to imagine that if a gentleman was acquainted with thirty young women and visited each in quick succession on New Year’s Day, sampling food and drinking to the health of his hostess as he went along, there was a very good chance the gentleman might be a little tipsy by the time he finished his calls that evening.

Isabella recognized that danger. In Julia Ried she wrote about a young man named Norman Mulford who called upon Julia on New Year’s Day. Norman was “a bright, handsome boy of nineteen, fair-faced, except for a slightly unnatural flush. He was fresh from college honors, and seemed almost intoxicated with triumph and wine—just the sort of a boy to be led into all sorts of temptation.”

Unfortunately, Norman couldn’t resist the temptation of the “glittering glasses and sparkling liquid” offered him by every hostess at each stop along his way that day. Norman’s loving father was deeply aware of his struggle, saying, “I would have been thankful, I think, for almost anything that would have shielded him from the dangers and temptations of this day.”

But by the time Norman visited Julia, he was feeling defiant and resentful of his father’s efforts to keep him from drinking. When Julia and her friend, Mrs. Tyndall, explained to Norman that they promised his father they wouldn’t offer him any wine, Norman’s eyes took on a “stormy glare” and “his voice shook with suppressed passion as he spoke.”

“I am very grateful to my father, I assure you. I wouldn’t have you break your promise; but, I suppose you did not also promise that I should not help myself at your hospitable table?”
Whereupon he walked directly over to the refreshment table, and deliberately poured for himself a goblet of wine, drained the glass, and then immediately made his adieus.

Norman wasn’t alone in his struggles. Many young men found that as their social circles widened, the list of calls they had to make also grew, and the number of men who finished their New Year’s calls thoroughly intoxicated became a very real problem for society.

That may be one of the reasons the practice eventually fell out of favor. By the 1900s, the custom of paying New Year’s Day calls had been replaced by the New Year’s Eve celebrations we know today.

Christmas Shopping with Isabella

Julia Ried (in Isabella’s novel of the same name) had ten dollars with which to purchase Christmas gifts for her family and friends.

She knew exactly what she wanted to give her mother, sister Sadie and brother Alfred for Christmas; and since this would be her first Christmas away from home, she even thought out how she would ship the gifts to her family:

I had packed them in imagination in a neat little box, and written the accompanying letter scores of times.

In our modern world, ten dollars doesn’t seem like a lot of money, but in 1873, when Julia Ried was published, those ten dollars went much further than they do today.

For example, Julia could purchase a set of six handkerchiefs to give to Sadie at a cost of only thirty cents:

And since a lady could never have enough handkerchiefs, Julia might instead have opted to give Sadie a dozen of them (with fancy colored borders) at a cost of just 48 cents:

Or, Julia might have purchased for Sadie a knitted cap and scarf set, since such sets were just as popular in the late 1800s and early 1900s as they are now.

For Alfred, Julia might have purchased a new shirt to wear to his job as a store clerk (or even two shirts at these prices):

This full-page newspaper ad from 1912 illustrates other affordable gifts Julia might have chosen for Alfred, from a sturdy pair of gloves to a warm sweater to a new cap (click on the image to see a larger version):

When it came to selecting a gift for her mother, Julia knew no ordinary gift would do. She wrote:

Dear mother, she seemed to think that her first and greatest duty in life was to toil for and spare her children. Patient, faithful, tender mother! Tonight, as I recall her sweet, pale, tired face, I can think of no frown of impatience or anger that ever marred its sweetness. I can think of nothing left undone, that she could do, to smooth the path in which her children trod.

Clearly a special gift was in order for Mrs. Ried. A very pretty sewing box, covered in a sturdy but lovely patterned fabric (called “cretonne”) might have been the perfect gift:

Or she might have chosen for her mother a lovely ladies’ hat pin to add some sparkle to her life:

All of these would have been thoughtful gifts for Julia to send home to her family; but …

If you have read the book, you know that that Julia succumbed to an entirely different temptation when it came to spending her ten dollars—a temptation that left her with no money to buy gifts she wanted to give her family!

As the characters in Isabella’s novels so often did, Julia Ried had to learn many lessons about the dangers of peer pressure and placing trust in the wrong person—lessons that are just as relevant today as they were in 1873.

What do you think of the Christmas gifts in these ads from the late 1800s/early 1900s?

Which gifts would you purchase to give loved ones?

Tableaux: Bringing Pictures to Life

Long before last year’s mannequin challenge went viral on social media, Isabella Alden and her contemporaries struck poses like statues. Tableaux vivant (which means, literally, “living pictures”) was a very popular form of entertainment in late 19th century America.

The premise was simple. People donned costumes and recreated famous scenes from literature, art, and historic events.

A 1903 photo of a woman posing as Margaret in Faust.
A 1903 photo of a woman posing as Margaret in Faust.


On a small scale, people performed tableaux in parlors. They selected a famous scene from history or literature, donned make-shift costumes, and struck poses while other guests observed.

Isabella Alden was very familiar with tableaux. In Julia Ried Isabella described how guests at a party …

made very free use of the wraps in the dressing-room for our impromptu charades and tableaux, and shawls, cloaks, hoods and rubbers were in inextricable confusion.

Woman in Elizabethan costume, 1903.
Woman in Elizabethan costume, 1903.


On a large scale, churches, women’s clubs and fraternal organizations staged more elaborate tableaux on stages with scenery and props.

There were many books available to help performers turn out their best statue-like performances.

School and Parlour Tableaux by Sarah L. Stocking gave step-by-step instructions for young performers.

From School and Parlour Tableaux by Sarah Stocking
From School and Parlour Tableaux by Sarah Stocking


While The Book of Tableaux and Shadow Pantomimes by Sarah Annie Frost featured performances with themes more suitable for adults.

Part of the table of contents for The Book of Tableaux and Pantomimes, with detailed instructions for enacting each tableau
Part of the table of contents for The Book of Tableaux and Pantomimes, with detailed instructions for enacting each tableau


In his book, Parlor Tableaux and Amateur Theatricals, William Gill promoted tableaux as “a simple and elegant amusement,” and “a favorite entertainment of persons with taste.” He recommended that music—vocal or instrumental—be played between representations so the audience would not grow restless and to help heighten the suspense as the audience waited for the curtain to rise on the next scene.

Isabella wrote often enough about tableaux to indicate she was very familiar with the pastime. In her novel A Dozen of Them, young Joseph participated in a simple New Year’s Eve tableau party where he …

… dressed in an extraordinary manner—like a youthful musician of the olden time. Mrs. Calland had managed—nobody but she knew how—to arrange for him a most remarkable wig of soft curling hair. The mustache part was easy; a little burnt cork settled that.

Cover_Julia RiedOn a larger scale, Julia Ried (heroine in the book of the same name) helped put together a grand tableau of several re-enactments that required weeks of preparation:

I remember an animated discussion that ensued concerning the getting up of tableaux for a certain festival, which was to be held about Christmas time. Mrs. Tyndall gave minute descriptions of the style of dress needed to personate certain characters, and I suddenly became an object of importance, because I had not only seen, but participated in one of the tableaux mentioned, and could give accurate information as to whether the young lady who personated religion should dress in white or black.

Hand-painted 1905 photo of a woman in Old Testament costume
Hand-painted 1905 photo of a woman in Old Testament costume for a religious tableau.


Rehearsals and sewing costumes consumed Julia’s days. She helped make costumes for characters portraying Religion, Queen Vashti, Quakers, and a Turkish sultan. Some of the elaborate scenes challenged Julia, because she was convinced they weren’t suitable for Christian women to enact.

Society ladies and a gentleman perform as Bacchantes, 1909.
Society ladies and a gentleman perform as Bacchantes, 1909.


Some of the most common themes for tableaux were religious and patriotic scenes. The scenes below, performed by a church in 1920, depict the story of Jesus’s life, from the angel Gabriel’s visit to Mary through his early childhood:












Tableaux featuring Greek aesthetics were also popular, because the draped costumes and classical poses were considered to be the epitome of grace and beauty.

A woman in a classic Greek pose, 1903.
A woman in a classic Greek pose, 1903.


If you’ve ever seen The Music Man you’ll remember that the mayor’s wife was devoted to performing Greek tableaux.

Even the famous Mrs. Astor, leader of New York Society, staged an evening of tableaux for charity in 1909.



Women attending Mrs. Astor's society tableau in 1908.
Women attending Mrs. Astor’s society tableau in 1908.


National organizations also dove into the tableau craze. To publicize their organization, the Red Cross staged tableaux on the south front of the Treasury Building in Washington DC in 1917:






It’s possible that Isabella participated in a few tableaux herself. She was certainly able to describe the entertainment with some affection and a good deal of detail in several of her books and stories.

A tableau for women's suffrage on the front steps of the Treasury Building in Washington DC, 1913.
A tableau for women’s suffrage on the front steps of the Treasury Building in Washington DC, 1913.


Did you know there are still organizations practicing the art of tableaux vivant today? One such organization is the New Orleans Tableaux Vivant Society. Click here to visit their site, where you’ll find news of upcoming performances and photos of past events.

If you know of any other tableau events coming up, please share by posting a comment below.

The idea for this post was suggested by Karen, a regular reader of this blog. If you have any questions about Isabella Alden or would like to learn more about something you read in one of her books, please leave a comment below.

Julia’s Occupation

Cover_Julia RiedIsabella Alden’s series of books about the Ried family were her most popular novels. In Julia Ried, book 2 of the series, the Ried family falls on hard times, and daughter Julia decides to strike out on her own. She takes a job as a bookkeeper in a paper box factory in the neighboring town of Newton.

In choosing Julia’s career, Isabella was on solid ground. She was able to write convincingly about Julia’s job and work environment, because Isabella’s father, Isaac Macdonald, operated a paper box factory in Gloversville, New York.

Page from an 1870 Fulton County New York Business Directory.
Page from an 1870 Fulton County New York Business Directory.

Gloversville, the little village where Isabella grew up, was celebrated for its glove-making industry.

A 1908 postcard of Gloversville showing the intersection of Main Street, with its many retail glove shops, and Fulton Street where Isaac Macdonald's box factory was located.
A 1908 postcard of Gloversville showing the intersection of Main Street, with its many retail glove shops, and Fulton Street, where Isaac Macdonald’s box factory was located.

Between 1890 and 1950, Gloversville supplied nearly 90 percent of all gloves sold in the United States.

1913 paper glove box; from Pinterest.
1913 paper glove box; from Pinterest.

Besides the many “skin mills” and glove manufacturing business in the little village, the industry spawned a host of supporting businesses, such as box makers, tool and die manufacturers, and dealers in buttons and threads.

Box for Silkateen brand ladies gloves. From Etsy.
Box for Silkateen brand ladies gloves. From Etsy.

Isabella’s father, Isaac Macdonald owned one of four or five box-making factories in Gloversville. While there’s no record that Isabella ever worked in her father’s factory, she had a good grasp of the working conditions, and she conveyed her thorough knowledge of the business in Julia Ried.

Women workers at a box factory, about 1890.
Women workers at a box factory, about 1890.

In Julia Ried, Isabella gave lively descriptions of the “shop-girls” who folded and pasted the cardboard boxes together. According to Frank Hooper, one of those shop-girls in the book, they worked ten hours a day, six days a week.

A 14-year-old girl at work in a paper box factory. From National Archives.
A 14-year-old girl at work in a paper box factory. From National Archives.

Pasting cardboard boxes together was a sticky, messy, exhausting job; but it was a job that was often performed by women and children.

A young girl working alongside a woman in a paper box factory, 1912. From National Archives.
A young girl working alongside a woman in a paper box factory, 1912. From National Archives.

Small boxes especially—like those that contained gloves for ladies and children—needed to be assembled and pasted by women or children with small hands.

From the Gloversville Daily Leader, March 12, 1900.
From the Gloversville Daily Leader, March 12, 1900.

Yet in the glove-making industry—and its supporting businesses—women and girls earned half as much as men.

The work could be dangerous. Accidents were common, and some injuries could be severe.

From the Gloversville Daily Leader, May 12, 1898.
From the Gloversville Daily Leader, May 12, 1898.


A young box factory worker after an accident with a veneering saw; 1907.
A young box factory worker after an accident with a veneering saw; 1907.

Isabella drew on her knowledge of the box-making business to create some of her most beloved characters. The characters of Frank Hooper and Jerome Sayles (whose father co-owned the box factory in the story) made return appearances in other books in the Ester Ried Series.

Women and girls working in a box factory, 1910.
Women and girls working in a box factory, 1910.

You can learn more about Gloversville, Isabella’s home town, by reading these related posts:

Helena’s Alexandre Gloves

Deerville, My Home Town




The Trouble with Paper Dolls

In Isabella’s book Ester Ried, Ester’s youngest sister Julia found herself in trouble, all because of paper dolls.

Ester had charged Julia with taking an important letter to the post-office. Julia obediently started out, immaculate in white apron and white stockings, but then she met temptation in the form of a little girl playing with her paper dolls.

Mascot Bread_Many Lands ed

While Julia was admiring them, the letter “had the meanness to slip out of her hand into the mud!”

Horrified, Julia and the little girl put their wise young heads together, and decided to give the muddy letter a thorough washing in the creek. But no sooner were they standing ankle deep in the mud, vigorously carrying their idea into effect, than “the vicious little letter hopped out of Julia’s hand, and sailed merrily away, downstream!”

Baby in Rocking Cradle

It’s understandable that Julia was a little bewitched by her friend’s paper dolls. Paper dolls were colorful and beautifully detailed little works of art, usually depicting handsome men, beautiful women, and charming children. Paper dolls of fairy tale characters were popular, too, like this set of Tom the Piper’s Son:

Tom Tom the Pipers Son

And this fanciful set from 1912 depicts characters from the story of Aladdin.

Aladdin fairy tale 1912

Because every respectable paper doll needed a suitable paper home in which to live, children could collect paper doll furniture pieces, too. Here’s a cabinet suitable for a paper doll’s fashionable drawing room:

Drawing room cabinet

Paper dolls even had lovely chairs and settees on which to sit.

Drawing room chairs


Drawing room settee
No paper doll drawing room would be complete without a grandfather clock and a decorative screen to block out cold drafts.

Grandfather clock

Drawing room screen

Here’s a paper doll house accessory that Isabella might have liked for herself: a pot of colorful pansies.


Pansies instructions

You can click on any of the paper doll images in this post to open a larger version to print and assemble for yourself.

And click here to see a previous post about paper dolls

Fan Mail and Ester Ried

At the height of her popularity, Isabella Alden was one of the most widely-read authors in the world. One of the things that made her so popular—and unique—was the varying ages of her readers: she had just as many children who were dedicated fans of her books as she had adult fans. And they all wrote letters to her.

She received letters by the thousands, addressed to her publisher, to her home, and to the offices of her magazine, The Pansy. And she answered them all!

Isabella Alden in an undated photograph.
Isabella Alden in an undated photograph.

Some fans wrote to request her autograph and a photo. Others asked for advice on how to become a great author or they sent their own manuscripts and asked for her opinion.

Some asked for advice on other topics, from how to get a good husband to the best way to stop fingernail biting. One fan even asked for pieces of her best dress so they could be sewn into a patchwork quilt the fan was sewing!

An early cover for Ester Ried
An early cover for Ester Ried

But the fan mail Isabella received most often was about her book Ester RiedEster Ried was incredibly popular and prompted scores of readers to send Isabella letters thanking her for the book’s message.

New cover for the 2016 release of Ester Ried
New cover for the 2016 release of Ester Ried

Fans wrote to Isabella about how they saw themselves in Ester’s struggles and her impatience with life’s daily annoyances. But mostly, readers identified with the lessons Ester learned; they took to heart the promise that God would bring peace and happiness to their lives, if only they trusted in Him.

What started as a single book soon blossomed into an ongoing series. The Ester Ried series gave fans of the original book glimpses into the lives of the characters they loved. Readers grabbed up each new story about the Ried family members and their trials as they grew up, married, and learned to trust God to help them through a sometimes difficult world.

Cover_Julia Ried

Two years after Ester Ried was published came Julia Ried, a sequel that focused on Ester’s younger sister Julia and the lessons she learns about faith in times of temptation. It also brought readers up to date on Abbie Ried’s story after the tragic turn her life took in Ester Ried.

Cover_The King's Daughter

The following year Isabella published the third book in the series, The King’s Daughter. In this book Isabella introduced the character of Miss Dell Bronson. Unlike Ester or Julia, Dell was rock solid in her faith and trusted God in her daily life, but she still had challenges to face. And she still had lessons to learn in Wise and Otherwise, the next book in the series.

Cover_Wise and Otherwise

Isabella commissioned her best friend Theodosia Foster to write book five. Echoing and Re-Echoing (written under Theodosia’s pen name Faye Huntington) centers around Ralph Ried, Abbie’s brother, who, as a new minister, struggles to reach his flock through his Sunday sermons.

Cover_Echoing and Re-echoing

Isabella’s fans particularly loved the sixth book in the series, Ester Ried Yet Speaking, because it included the character of Flossy Shipley. Flossy was originally introduced to readers in Four Girls at Chautauqua. In Ester Ried Yet Speaking readers got to find out what happened to Flossy after her marriage to Evan Roberts. They also met Dr. Everett, Hester Mason, and Joy Saunders, who were the main characters in Isabella’s later book, Workers Together; An Endless Chain.

Cover_Ester Ried Yet Speaking

Isabella waited nine years before she published Ester Ried’s Namesake. It was intended to be the last book in the series, but fans wrote to beg for more.

Cover_Ester Rieds Namesake

Even Isabella’s niece, Grace Livingston Hill, encouraged her to write “one more long story.” Grace suggested she write about Ester Ried’s granddaughter or great-granddaughter, and thereby reach an entirely new generation of readers with the original book’s message.

But by that time, Isabella was 86 years old and in failing health. One more “long story” was beyond her abilities, she told Grace. “You have altogether too high an opinion of me.”

Many fans of the series think the Ester Ried books are perfect, just as they are; the only difference is that today’s readers have the option to read the books electronically. A new generation of Ester Ried e-books is available on Amazon and other e-book retail sites.

Boxed set e-book cover for Ester Ried, the Complete Series.
Boxed set e-book cover for Ester Ried, the Complete Series.

Have you read the books in the Ester Ried Series? Which book is your favorite?

You can click on any of the book covers in this post to find out more about each title.