Little Nobody — Reading Notes
Edition facts
Little Nobody — Reading Notes can be approached with a clearer sense of reading commitment from its source measurements: 66,851 words, 4 hr 51 min estimated reading time, and 8 detected text sections.
The text analysis averages about 16.1 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 “New Orleans (La.) -- Fiction,” 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
CHAPTER I. CHAPTER II. CHAPTER III. CHAPTER IV. CHAPTER V. CHAPTER VI. CHAPTER VII. CHAPTER VIII. CHAPTER IX. CHAPTER X. CHAPTER XI. CHAPTER XII. CHAPTER XIII. CHAPTER XIV. CHAPTER XV. CHAPTER XVI. CHAPTER XVII. CHAPTER XVIII. CHAPTER XIX. CHAPTER XX. CHAPTER XXI. CHAPTER XXII. CHAPTER XXIII. CHAPTER XXIV. CHAPTER XXV. CHAPTER XXVI. CHAPTER XXVII. CHAPTER XXVIII. CHAPTER XXIX. CHAPTER XXX. CHAPTER XXXI. CHAPTER XXXII. CHAPTER XXXIII. CHAPTER XXXIV. CHAPTER XXXV. CHAPTER XXXVI. CHAPTER XXXVII. CHAPTER XXXVIII. CHAPTER XXXIX. CHAPTER XL. CHAPTER XLI. CHAPTER XLII. CHAPTER XLIII. CHAPTER XLIV. CHAPTER XLV. CHAPTER XLVI. CHAPTER XLVII. CHAPTER XLVIII.
He was a Northern journalist, and it was in the interest of his paper that he found himself, one bright March morning, in New Orleans, almost dazed by the rapidity with which he had been whirled from the ice and snow of the frozen North to the sunshine and flowers of the sunny South.
He was charmed with the quaint and unique Crescent City. It was a totally different world from that in which he had been reared--a summer land, warm, indolent, luxurious, where one plucked the golden oranges from the dark-green boughs, laden at once with flowers and fruit, and where the senses were taken captive by the sensuous perfume of rare flowers that, in his Northern land, grew only within the confines of the close conservatory. Then, too, the dark, handsome faces of the people, and their mixture of foreign tongues, had their own peculiar charm. Nothing amused him so much as a stroll through the antique French Market, with its lavish abundance of tropic vegetables, fruits, and flowers, vended by hucksters of different nationalities in the Babel of languages that charmed his ear with the languorous softness of the Southern accent.
He had a letter of introduction to a member of the Jockey Club, and this famous organization at once adopted him, and, as he phrased it, "put him through." The theaters, the carnival, the races, all whirled past in a blaze of splendor never to be forgotten; for it was at the famous Metairie Race-course that he first met Mme. Lorraine.
But you must not think, reader, because I forgot to tell you his name at first, that he is the Little Nobody of my story. He was not little at all, but tall and exceedingly well-favored, and signed his name Eliot Van Zandt.
Mme. Lorraine was a retired actress--ballet-dancer, some said. She was a French woman, airy and charming, like the majority of her race. The Jockey Club petted her, although they freely owned that she was a trifle fast, and did not have the _entrée_ of some of the best houses in the city. However, there were some nice, fashionable people not so strait-laced who sent her cards to their fêtes, and now and then accepted return invitations, so that it could not be said that she was outside the pale of society.
Mme. Lorraine took a fancy to the good-looking Yankee, as she dubbed him, and gave him _carte blanche_ to call at her _bijou_ house in Esplanade Street. He accepted with outward eagerness and inward indifference. He was too familiar with women of her type at the North--fast, frivolous, and avaricious--to be flattered by her notice or her invitation.
"She may do for the rich Jockey Club, but her acquaintance is too expensive a luxury for a poor devil of a newspaper correspondent," he told the Club. "She has card-parties, of course, and I am too poor to gamble."
Pierre Carmontelle laughed, and told him to call in the afternoon, when there was no gambling in the _recherché_ saloon.
"To see madame at home, informally, with her little savage, would be rich, _mon ami_. You would get a spicy paragraph for your newspaper," he said.
"Do not ask me any questions, for I shall not answer," said Carmontelle, still laughing. "Perhaps Remond there will gratify your curiosity. The little vixen flung her tiny slipper into his face once when he tried to kiss her, under the influence of a _soupçon_ too much of madame's foamy champagne."
"Madame's daughter, perhaps?" said Van Zandt, looking at Remond; but the latter only scowled and muttered, under his breath:
He thought they were guying him, and decided not to call in Esplanade Street.
But it was only one week later that he saw Mme. Lorraine again at Metairie. Her carriage was surrounded by admirers, and she was betting furiously on the racing, but she found time to see the Yankee and beckon him importunately with her dainty, tan-kidded hand.
The novel opens with a Northern journalist, Eliot Van Zandt, arriving in New Orleans and being captivated by the city's sensory richness: "the sunshine and flowers of the sunny South," the "antique French Market" with its "Babel of languages," and the "sensuous perfume of rare flowers." This vivid setting quickly introduces Mme. Lorraine, a retired actress described as "airy and charming" but "a trifle fast." The narrative voice directly addresses the reader, clarifying that Van Zandt is not the "Little Nobody" of the title—a promise that the title character remains unidentified in the excerpts.
Honor and Sacrifice in a Marriage Plot
The excerpts center on a moral dilemma: after Van Zandt and a young woman named Marie are imprisoned together for four days, Carmontelle—Marie's intended guardian—declares the plan for him to marry her "untenable" because of the "shadow" of scandal. He states, "I could not have a bride of whom gossip could whisper even one blighting suspicion." Van Zandt immediately agrees to marry Marie as "reparation" for her sacrifice in seeking to save him. The dialogue reveals a rigid code of honor: Carmontelle's pride in his "unblemished honor" outweighs his affection, while Van Zandt's chivalry compels him to act. The scene underscores how reputation governs personal relationships, with both men treating marriage as a duty rather than a romantic choice.
Setting as Character: New Orleans and the South
The opening chapters establish New Orleans as a place of sensory excess and cultural contrast. Van Zandt experiences the city as "a totally different world" from the North, with "dark, handsome faces" and "foreign tongues." The Metairie Race-course and the Jockey Club provide social entry, while Mme. Lorraine's ambiguous status—accepted by some but not by "the best houses"—hints at class and moral boundaries. The Southern setting is not merely backdrop; it shapes the plot's tensions. Carmontelle, described as having "the pride of the South," embodies regional codes of honor that drive the conflict. The excerpts suggest that the novel uses place to explore how social rules differ by region, yet the characters' dilemmas about reputation transcend geography.
Narrative Voice and Reader Address
The narrator frequently breaks the fourth wall, as when remarking, "But you must not think, reader, because I forgot to tell you his name at first, that he is the Little Nobody of my story." This direct address creates an intimate, conversational tone and signals that the narrator is guiding interpretation. The phrase "Little Nobody" is teased as a mystery, but the excerpts never reveal who it refers to—only that it is not Van Zandt. The narrator also withholds information, such as the cause of a wound dismissed as "the scratch of a pen." These techniques build suspense while reminding the reader of the story's constructed nature. The voice is playful yet moralizing, typical of 19th-century serial fiction, and it shapes how the reader judges characters' actions.
The excerpts reveal a novel driven by a forced-marriage dilemma rooted in social propriety, with New Orleans providing a lush, morally complex setting. Readers should note that the title character remains unnamed in these passages, and the narrative's direct address suggests a layered story about identity and reputation. The incomplete excerpts leave key questions—such as Marie's background and the full consequences of the imprisonment—unresolved, inviting careful attention to how the novel balances romance with social critique.
That forced-marriage knot in Little Nobody reminded me of a quiet summer afternoon, turning pages of Perkins of Portland: Perkins The Great — Reading Notes, where honor felt just as heavy, just as strange. Both books leave you sitting with the weight of a promise made too soon, wondering if anyone truly escapes their own good intentions. It’s a lonely feeling, and I miss it.
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