Is Joe just pretending not to cry, or actually can't find the corkscrew?

Maria has a lot of the same qualities as Miss Clack from the Moonstone, I wonder how many words this story and Miss Clack's narrative have in common.

Again, a character is scared to cross into the unknown. Eveline wants a better life, but is scared to leave the life she already knows.

Another mention of a chalice, this time with a different context. I wonder if the chalice will appear in future stories.

The bazaar isn't fully closed yet, but the boy doesn't buy anything. It's like he's scared to cross the line between the life that he knows, and the life he could know by giving the present to the girl.

After reading the story, it's interesting that it's named after the sisters, whom I feel like aren't the main part of the story, rather a vehicle to reveal Father Flynn's background.

What a strange way to end this story! It leaves a lot up to interpretation, and continues the theme of unfinished thoughts.

It would be tricky to find out computationally who says these next few lines of dialogue, since it's not back and forth between Mr. Neave and one person.

In this scene, "sank" implies the chair is really big, but also puts Mr. Neave in a non-commanding, unassuming role that mirrors his relationship with his family.

It's interesting that this last encounter with the older man isn't its own part of the story, instead its a small detail of the blur that the dance feels to her.

Unlike Leila's previous partners, the old man can tell she hasn't been to a dance before.

William imagines Isabel greeting him in many different ways, each one a lovely, picturesque meeting––each one not involving her friends!

I thought Isabel had a change of heart, but she still chooses to be her "new self", laughing and joining her friends as soon as they call her.

The narrator can see past the cold front that the girl puts up.

There's a lot of angel imagery right off the bat; the girl is being described as an angel who fell from Heaven. Angels show purity and peace, which is what I'm guessing we're supposed to feel about the girl.

Mansfield again starts the story with no context, like it's the middle of the story. As I'm reading, my way of picturing the story is a lot different: I know there's something someone is worried about, but I don't even know who they are.

Laura's mother makes her priorities known. She even interrupts her!

I really enjoy the personality that the narrator has, or I guess just their way of speaking. This paragraph stood out to me because the author chose to include it right after the plot of the man dying is introduced, instead of the beginning which would make more sense.

Jennings' death continues the pattern of tragic, gruesome deaths that is associated with the Moonstone. His death is similar to Rosanna's in that he is dreadfully anticipating it.

I wonder what we can notice by analyzing the presence of other books in the story; we know Robinson Crusoe shows up a lot. Are these titles standard classics, or do they maybe follow a theme that ties back to The Moonstone?

We're seeing Betteredge's relationship with Robinson Crusoe from another character's point of view; he really treats the book like a Bible, going to a corner and reciting a passage from it. I feel like Jennings's narration is already more detailed and poignant as it is a journal entry.

We've never gotten a description as vivid and detailed as this one. If Blake were in the other narrators' positions, would he give everyone a long, flowery description like this? Or is Ezra that important of a character?

Franklin Blake's narration starts off with this intense moment, and it already shows how different his point of view will be from the others. As others have said, he's not caught up with the emotions of his father's death––but is he just not including it in his written account?

Again we see a generalization of women; reminds me of Betteredge's comments before. This would be interesting to think about computational analysis-wise.

This section of the story really stands out to me; it's as if he's narrating a nature documentary. The day-to-day lives of the upper class are condensed into a humorous list.

It's referred to as 'the Moonstone' here, but the characters also use 'the Diamond' and other words. This would be something to look out for when we're analyzing how often the Moonstone is brought up, for example.

The start of the story involves a character wondering how to start the story, which is really interesting! Betteredge's writing style is fun to read, but I wonder if there problems with his reliability, as he goes on tangents.

Here we can see Betteredge's thought process of replying to Mr. Franklin. He doesn't really understand Mr. Franklin's intentions, but he is quick to agree with him. The whole time, Betteredge is more concerned with what the situation has to do with him––an attitude that reflects their employer-employee dynamic.