Starting Point. According to Miss Hurst, “Ice Water, Pl—!” had its germinal beginnings in the self-imposed query: Given, a mother whose joys are largely the vicarious ones that come through her daughter, to what extent can her own personal life become more and more submerged?
Setting. The locale of this story is the same as that of “T. B.” Point out evidence, explicit or implicit, of its being New York City. In general, notice that the larger setting of Miss Hurst’s stories is frequently St. Louis or New York. Account for this fact. How long is the action of “Ice Water, Pl—!”?
Plot. The initial impulse, the force that sets the story-action going, is Mr. Vetsburg’s invitation to Mrs. Kaufman and Ruby to “come down to Atlantic City over Easter.” (Fill in the important steps toward the dramatic climax.) The dramatic climax is a double header: First, Ruby accedes, after a struggle, to her Mother’s wishes that she accept Mr. Vetsburg. Second, Mrs. Kaufman gives in to Ruby’s marrying Leo. By this clever duplication, not only is the turning point made more emphatic, but the sympathy of the reader is evoked for both mother and daughter. It is another excellent instance of economy joined to strength.
The climax of action follows without much delay: It is bound up with the dénouement, since in it Mrs. Kaufman learns that it is herself—not her daughter—whom Vetsburg loves.
Characterization. What is Mrs. Kaufman’s outstanding trait? Ruby’s? Vetsburg’s? Is Mrs. Kaufman’s dominant characteristic logically connected with her capability as a boarding-house keeper? Are the two so portrayed as to make satisfactory the dénouement, by which Mrs. Kaufman will be married to Mr. Vetsburg? What preparation leads to the happy outcome?
How is Ruby akin to her sisters, Sara Juke and Selene Coblenz? How is she differentiated? Is the individualization stronger than the type resemblance?
Close your eyes after finishing the story and call up images of the two main women characters and of Vetsburg. Go over the narrative and see how the author has given you these pictures, and also observe how accurately you have registered the impressions. If there are discrepancies between your memory and the presentation, whose fault is it?
What purposes are fulfilled by the background figures? Recall instances of humor to which they contribute. Have you ever met Irving Katz?
Why is Leo so slightly touched? Do you notice other measures taken to keep in the foreground the middle-aged pair? What are they?
Details. What popular attitude does the philosophy of page 181 subtly criticize? What is the link which connects the generalizing preliminary with the particular instance? (Notice that the slide is effected on the towels.)