Bob Hazard, dam builder — Reading Companion
Edition facts
For Bob Hazard, dam builder — Reading Companion, the stored edition analysis reports 54,042 words, 3 hr 55 min estimated reading time, and 24 detected text sections.
The text analysis averages about 14.4 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 “Western stories,” connecting these edition facts with the source record’s subject description.
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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.
Read the Text
erybody on the train and many tired travelers saw the scenery through his enthusiastic eyes, finding beauty in what ordinarily would have seemed to them commonplace.
One thing only served to disturb his perfect enjoyment: This was a conviction not to be denied, that his father was hurt by his action. As he thought over their talks he knew that underneath the approval his father had given, lay a deep disappointment. That Bob would not be a lawyer was a hard blow; the knowledge that his son’s choice of an occupation in life would mean almost constant separation, must hurt the elder Hazard, who thought the world of his only son.
Bob realized these things keenly and they were painful to him, yet he could not bring himself to give up his plan to be an engineer.
“Dad made his own way, tackled the job he wanted and made good. I’ve _got_ to do the same. Probably _his_ father wanted him to do something quite different. I’ll ask him about that some time. Besides, if I just took up Dad’s business, it wouldn’t seem right somehow.”
But thoughts such as these occurred to him less and less as the distance between him and the East grew greater. By the time he dropped off the train at Williams, Arizona, where he changed to the day coach that would take him to the Grand Canyon, his mind was so full of the future that there was no room for the things he had left behind him.
When the jolting train stopped at the last station, the boy stepped off almost at Whiskers’ side. Dropping his suit case, he caught the hand that was stretched out to him and was happy when he saw the man’s grin of welcome.
“Good work, Bob, my boy! It’s great to see you! Have a good trip? You’ve grown since I saw you--how’re the other fellows? How’s Big Chris?”
“Fine! Fine!” answered Bob. “And it’s good to see you too. I’m awfully glad you’ve got a place for me. Is the job here at the Canyon?”
Steve Whitney shook his head. “No--but I’ll tell you all about it as we go to the hotel. Grab your satchel and come along.”
“Right you are, Whisk--I mean, Mr. Whitney,” Bob answered in some confusion. “I suppose you’ll have to be _Mister_ Whitney now since you are the Big Boss. Last summer you were the fellow who was so good to us kids and we took liberties.”
“You are right, Bob. I am the chief and starting from to-day I will have to be Mr. Whitney. There is another rodman here and it would be bad for discipline if you called me by that--‘vacation’ name, let’s call it. But we had mighty good times when I was just Whiskers, didn’t we?”
“You bet,” answered Bob. “I’ll never forget ’em.” For a moment he said nothing, letting his thoughts drift. Then--“But where _is_ the job? You said it wasn’t here.”
“No, just now there isn’t any job at all--”
“What?” exploded the boy, anxiously.
“Don’t worry,” the engineer assured him; “there will be plenty of work. I have just finished a project in Colorado and am waiting for further orders. I told you to meet me here because I wanted you to see the greatest natural wonder we have in the United States, the Grand Canyon, and I am going to work you so hard later on that you won’t have another chance to get here before you go back to college. And I want your first sight of it to be at sunset. Then it is most wonderful.”
By this time they had reached the hotel.
“Go and wash up and come down quickly,” urged Bob’s new boss. “It’s almost sunset, and I don’t want you to miss it! I’ll wait for you here on the porch.”
Bob wasted no time and a few minutes later joined Mr. Whitney. The veranda of the hotel is built almost on the edge of the great rift in the surface of the earth. Bob started to pull up a chair to the railing where his friend was sitting but stopped as the other rose.
“I’ve got a better place than this to see it from,” said Mr. Whitney. “A lot of folks will be coming out here presently and too many people spoil the thing. Come along.”
Carl Brandt's Bob Hazard, Dam Builder (1916) opens with a quiet conversation on a park bench in Richmond, Virginia, where seventeen-year-old Bob tells his father he wants to be an engineer, not a lawyer. The novel then shifts abruptly to the arid landscapes of a Western reclamation project, a structural leap that mirrors Bob's own transition from family expectations to the practical world of dam construction. The story moves between these two poles—the civilized East and the frontier worksite—using the tension between them to drive both plot and character development.
Movement Between East and West
The narrative structure hinges on a clear geographical and emotional arc. The first chapter establishes Bob's decision in a formal, urban setting; subsequent chapters transplant him to the U.S. Reclamation Service's dam site, where the language becomes rougher and more immediate. The contrast is not merely scenic but structural: the measured dialogue of the opening gives way to urgent exchanges about labor troubles, dynamite, and sabotage. This movement is reinforced by the chapter titles themselves—"Father and Son," then "U. S. R. S.," then "When the Chief Was Away"—each step pulling Bob further from his father's world. The reader, like Bob, must adjust to a new vocabulary of engineering and danger.
Recurring Images of Height and Falling
The frontispiece caption—"A second later Bob was climbing through space, faster than a rocket"—introduces a motif of vertical motion that recurs throughout the excerpts. Bob is repeatedly placed in precarious positions: climbing, falling, or suspended above the worksite. This imagery reinforces the novel's preoccupation with risk and control. The dam itself is a structure that tames water by channeling it downward, and Bob's own trajectory—from a boy on a bench to a young man handling explosives—echoes that controlled descent. The illustrations listed in the contents ("Look out for falls!" and the snake-like fuse) suggest that the visual narrative also emphasizes these moments of physical peril.
The Dam as a Contested Space
The dam is not merely a backdrop but a site of conflict. The excerpts reveal multiple threats: Mexican laborers being "tampered with," cattlemen hostile to the project, and a mysterious saboteur named Jerry. The structure of the novel alternates between technical discussions of engineering and scenes of sabotage, creating a rhythm of problem-solving and crisis. The dam itself becomes a character—a massive, unfinished structure that draws both loyalty and enmity. Bob's role shifts from observer to active participant as he learns to navigate the social and physical dangers of the worksite. The recurring phrase "Uncle Sam" underscores the federal authority behind the project, adding a political dimension to the adventure.
Voice and Dialogue as Markers of Experience
The dialogue in the excerpts distinguishes between the formal speech of Bob's father and the colloquial, jargon-filled talk of the engineers. Bob's own voice evolves: early on he says "Yes, sir,—an engineer rather than anything else!" with careful politeness; later he uses phrases like "Gee, if the Greasers struck it would tie us up for fair." This shift in register marks his assimilation into the worksite culture. The engineers speak in a clipped, practical idiom—"I'm up against an awfully queer proposition"—that contrasts with the more elaborate descriptions of the landscape. The novel uses these vocal contrasts to signal who belongs and who does not, and to chart Bob's growing competence.
Readers approaching Bob Hazard, Dam Builder should attend to how Brandt uses physical movement—between East and West, between ground and height, between safety and danger—to structure the narrative. The dam is both a literal construction and a metaphor for the work of growing up. The novel rewards attention to its technical details, which are not mere decoration but integral to the plot's tensions.
Sometimes a story stays with you less for its plot than for its quiet scaffolding—like how that dam book keeps returning to the river’s push, the threat always just downstream. I felt something similar reading Doodles, the Sunshine Boy — Key Ideas to Explore, where the brightness isn’t simple. It’s built over something steadier, almost patient.
Before you leave, reflect on the book
Use these questions to collect your thoughts before moving on.
Luke Adams
2 weeks ago