A Taxicab Tangle; or, The Mission of the Motor Boys — Edition Insights

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In Category - Fairy Moral Tales
Matthews, Stanley R. [Adapter] Project Gutenberg 2016 Not confirmed
Adventure stories; Dime novels; Thieves -- Juvenile fiction; Mechanics -- Juvenile fiction Readers of public-domain and historical texts
Project Gutenberg digital edition en

Edition facts

Words 37,222
Reading time 162 min
Text sections 26

For A Taxicab Tangle; or, The Mission of the Motor Boys — Edition Insights, the stored edition analysis reports 37,222 words, 2 hr 42 min estimated reading time, and 26 detected text sections.

The text analysis averages about 13.7 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 “Adventure stories,” connecting these edition facts with the source record’s subject description.

In this 1909 dime novel, Motor Matt and his cowboy chum Joe McGlory navigate a taxicab tangle in New York, blending mechanical know-how with daring escapes. The excerpt reveals a disguise, a tense prison break, and a high-speed getaway, showcasing the series' characteristic mix of slang, action, and early automotive culture.
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Editorial Edition Score 4.7/5

Calculated from edition completeness, EPUB availability, text structure and catalogue metadata. Not a user rating.

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  • Description quality20 pts
  • Title & short description10 pts
  • Source metadata20 pts
  • Text length15 pts
  • Chapters / structure15 pts
  • EPUB file integrity20 pts

Total of 100 points, scaled to a 2.5-5.0 range. Editions with an empty description or a missing EPUB file are not scored.

Edition quality

Read the Text

HAPTER I. A LETTER--AND A SURPRISE.

“For its size, pard, I reckon this is about the biggest town on the map. We’ve been here five days, and the traffic squad has been some busy with our bubble-wagon, but if there’s any part of this burg we haven’t seen, now’s the time to get out a search warrant, and go after it. What’s on for to-day?”

Joe McGlory was the speaker. He and his chum, Matt King, known far and wide as Motor Matt, were in the lobby of the big hotel in which they had established themselves when they first arrived in New York. In a couple of “sleepy-hollow” chairs they were watching the endless tide of humanity, as it ebbed and flowed through the great rotunda.

For five days the gasoline motor had whirled the boys in every direction, an automobile rushing them around the city, with side trips to Coney Island, north as far as Tarrytown, and across the river as far as Fort Lee, while a power boat had given them a view of the bay and the sound. Out of these five days, too, they had spent one afternoon fishing near City Island, and had given up several hours to watching the oystermen off Sound Beach.

Matt, having lived in the Berkshires, and having put in some time working for a motor manufactory in Albany, had visited the metropolis many times. He was able, therefore, to act as pilot for his cowboy pard.

“I thought,” he remarked, “that it’s about time we coupled a little business with this random knocking around. There’s a man in the Flatiron Building who is interested in aviation--I heard of him through Cameron, up at Fort Totten--and I believe we’ll call and have a little talk. It might lead to something, you know.”

“Aviation!” muttered the cowboy. “That’s a brand-new one. Tell me what it’s about, pard.”

“Aviation,” and Matt coughed impressively, “is the science of flight on a heavier-than-air machine. When we used that Traquair aëroplane, Joe, we were aviators.”

“Much obliged, professor,” grinned the cowboy. “When we scooted through the air we were aviating, eh? Well, between you and me and the brindle maverick, I’d rather aviate than do anything else. All we lack, now, is a bird’s-eye view of the met-ro-po-lus. Let’s get a flying machine from this man in the Flatiron Building, and ‘do’ the town from overhead. We can roost on top of the Statue of Liberty, see how Grant’s Tomb looks from the clouds, scrape the top of the Singer Building, give the Metropolitan----”

“That’s a dream,” laughed Matt. “It will be a long time before there’s much flying done over the city of New York. I’m going to see if we have any mail. After that, we’ll get a car and start for downtown.”

McGlory sat back in his chair and waited while his chum disappeared in the crowd. When Matt got back, he showed his comrade a letter.

“Who’s it from?” inquired McGlory.

“Not being a mind reader, Joe,” Matt replied, “I’ll have to pass,” and he handed the letter to the cowboy.

“For me?” cried McGlory.

“Your name’s on the envelope. The letter, as you see, has been forwarded from Catskill.”

“Speak to me about this! I haven’t had a letter since you and I left ’Frisco. Who in the wide world is writing to me, and what for?”

McGlory opened the letter and pulled out two folded sheets. His amazement grew as he read. Presently his surprise gave way to a look of delight, and he chuckled jubilantly.

“This is from the colonel,” said he.

“Who’s the colonel?” asked Matt.

“Why, Colonel Mark Antony Billings, of Tucson, Arizona. Everybody in the Southwest knows the colonel. He’s in the mining business, the colonel is, and he tells me that I’m on the ragged edge of dropping into a fortune.”

A man of forty, rather “loudly” dressed, was seated behind the boys, smoking and reading a newspaper. He was not so deeply interested in the paper as he pretended to be, for he got up suddenly, stepped to a marble column near Matt’s chair, and leaned there, still with the cigar between his lips, and the paper in front of his eyes. But he was not smoking, and neither was he reading. He was listening.

“Bully!” exclaimed the overjoyed Matt, all agog with interest. “I’d like to see you come into a whole lot of money, Joe.”

The story opens with Joe McGlory, a cowboy, complaining about New York traffic in a folksy drawl: “the traffic squad has been some busy with our bubble-wagon.” His partner, Matt King—known as “Motor Matt”—is a mechanic whose expertise with gasoline engines drives the plot. The excerpt shows them imprisoned, then escaping by improvising a disguise (a white cap and apron) and bluffing a guard. Matt’s escape relies on cranking a car under fire, with “a detonation” whistling past his ear. The narrative favors short, punchy sentences and sudden reversals, typical of the dime-novel style.

Cowboy Slang Meets Motor Lingo

The dialogue mixes Western and mechanical idioms. McGlory calls the car a “bubble-wagon” and refers to New York as a “burg.” Matt, by contrast, speaks in terse, technical commands: “Manipulating the switch, and the lever controlling the fuel supply.” This linguistic clash reflects the series’ premise—a cowboy and a motor expert teaming up. The narrator also uses vivid, compressed action verbs: “the red car leaped around the corner” and “took a sharp curve with two wheels in the air.” Such phrasing keeps the pace relentless.

Disguise and Deception as Plot Engines

The escape sequence hinges on a quick-change disguise. McGlory dons a “white cap and apron” to impersonate a servant named Paul, fooling the guard Miles long enough to slip out. The ruse is fragile—Miles sees through it immediately, leading to a “smash of dishes” and a scuffle. Matt then exploits the confusion, jumping from a window while the guard Barney is absent. These deceptions are not elaborate; they rely on speed and nerve, reflecting the dime novel’s preference for immediate, physical solutions over long-term planning.

The Automobile as Both Prize and Peril

The red car is central to the escape. Matt worries about the “switch plug,” gasoline, and oil levels—practical concerns that ground the adventure in early automotive reality. Once the engine starts, the car becomes a weapon: Matt threatens to run over a guard, and the getaway involves a “sharp curve with two wheels in the air.” Yet the vehicle also endangers the heroes; if left behind, it could be used by pursuers. This dual role—tool and liability—gives the taxicab a tension that the title promises.

Readers should note the serial’s weekly format: each chapter ends on a cliffhanger, and the action is designed for quick consumption. The slang and mechanical details are period flavor, not anachronisms. Pay attention to how the authors balance Matt’s technical competence with McGlory’s cowboy bravado—their partnership is the series’ engine. The excerpt offers a self-contained sample of the story’s rhythm: capture, trick, chase, and narrow escape.

Years at this desk, and still those Motor Boys leave me smiling—their tangles never quite escape the warm hum of loyalty between Matt and Joe. It puts me in mind of another quiet pairing, that earnest little rabbit and his sly fox friend in Little Jack Rabbit and Danny Fox — A Reader’s Guide, where even a chase can feel like a kind of fellowship.

Oliver Mitchell
1 month ago

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