Nobody's Girl (En Famille) — Reading Notes
Edition facts
This digital edition of Nobody's Girl (En Famille) — Reading Notes is described by source-level measurements including 77,431 words, 5 hr 37 min estimated reading time, and 8 detected text sections.
The text analysis averages about 14.1 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 “Orphans -- Fiction,” connecting these edition facts with the source record’s subject description.
Calculated from edition completeness, EPUB availability, text structure and catalogue metadata. Not a user rating.
How this score is calculated
- 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
There was no occasion to worry about him now, so she amused herself with watching what was going on around her.
A little boy about her own age, dressed up like a clown, and who evidently belonged to the circus caravans standing in the rear, had been strolling round her for ten long minutes, without being able to attract her attention. At last he decided to speak to her.
"That's a fine donkey," he remarked.
"It don't belong to this country. If it does, I'm astonished."
She was looking at him, and thinking that after all he looked rather like a nice boy, she thought she would reply.
"He comes from Greece," she said.
"That's why he's called Palikare."
But in spite of his broad grin he was not at all sure why a donkey that came from Greece should be called Palikare.
"Is it far ... Greece?"
"Farther than ... China?"
"No, but it's a long way off."
"Then yer come from Greece, then?"
"No, farther than that."
"No, but Palikare's the only one that comes from Greece."
"Are you going to the Fair?"
"I know that, but where yer goin' to put up that there cart?"
"We've been told that there are some free places round the fortifications."
The little clown slapped his thighs with his two hands.
"The fortifications: _Oh la la!_"
"Isn't there any place?"
"It ain't the place for you ... round the fortifications! Have yer got any men with yer? Big strong men who are not afraid of a stab from a dagger. One who can give a jab as well as take one."
"There is only my mother and me, and mother is ill."
"Do you think much of that donkey?" he asked quickly.
"Well, the first thing he'll be stolen. He'll be gone tomorrow. Then the rest'll come after, and it's Fatty as tells yer so."
"Should say so! You've never been to Paris before?"
"That's easy to see. Some fools told you where to put your cart up, but you can't put it there. Why don't you go to Grain-of-Salt?"
"I don't know Grain-of-Salt."
"Why, he owns the Guillot Fields. You needn't be afraid of him, and he'd shoot anybody who tried to get in his place."
"Will it cost much to go there?"
"It costs a lot in winter, when everybody comes to Paris, but at this time I'm sure he won't make you pay more than forty sous a week. And your donkey can find its food in the field. Does he like thistles?"
"I should say he does like them!"
"Well, then, this is just the place for him, and Grain-of-Salt isn't a bad chap," said the little clown with a satisfied air.
"Is that his name ... Grain-of-Salt?"
"They call him that 'cause he's always thirsty. He's only got one arm."
"Is his place far from here?"
"No, at Charonne; but I bet yer don't even know where Charonne is?"
"I've never been to Paris before."
"Well, then, it's over there." He waved his arms vaguely in a northerly direction.
"Once you have passed through the Gates, you turn straight to the right," he explained, "and you follow the road all along the fortifications for half an hour, then go down a wide avenue, then turn to your left, and then ask where the Guillot Field is. Everybody knows it."
"Thank you. I'll go and tell mama. If you'll stand beside Palikare for a minute, I'll go and tell her at once."
"Sure, I'll mind him for yer. I'll ask him to teach me Greek."
"And please don't let him eat that straw."
Perrine went inside the caravan and told her mother what the little clown had said.
"If that is so," said the sick woman, "we must not hesitate; we must go to Charonne. But can you find the way?"
"Yes, it's easy enough. Oh, mother," she added, as she was going out, "there are such a lot of wagons outside; they have printed on them 'Maraucourt Factories,' and beneath that the name, 'Vulfran Paindavoine.' There are all kinds of barrels and things in the carts. Such a number!"
"There is nothing remarkable in that, my child," said the woman.
"Yes, but it's strange to see so many wagons with the same name on them," replied the girl as she left the caravan.
Perrine found the donkey with his nose buried in the straw, which he was eating calmly.
"Why, you're letting him eat it!" she cried to the boy.
"Well, why not?" he retorted.
"And if the man is angry?"
"He'd better not be with me," said the small boy, putting himself in a position to fight and throwing his head back.
Perrine first appears on the road with her donkey Palikare, a detail that immediately sets her apart from the factory world she will later enter. The opening chapters show her navigating hunger and cold, yet the narrative quickly shifts to the industrial landscape of Maraucourt, where her grandfather Vulfran Paindavoine runs a textile mill. The contrast between Perrine's solitary journey and the crowded factory floor is sharp: she moves from sleeping in a hut on an island to interpreting for English machinists in a noisy workshop. The story's tension lies in what Perrine knows—that Vulfran is her grandfather—and what she conceals, a secret that complicates every interaction.
Silence and Strategy
Perrine's silence about her identity is not passive; it is a deliberate strategy. When she first meets Vulfran, he is blind and dependent on others for information. She quickly becomes his interpreter, translating for English workmen who cannot speak French. The text shows her weighing each word: "They are saying some things that are very difficult for me to understand," she says, before carefully relaying their concerns about the floor's strength. This moment reveals her caution—she could reveal herself at any time, but she chooses to wait. The narrative emphasizes her control over information, a power that contrasts with her earlier vulnerability on the road.
Factory Floors and Family Feuds
The factory is a space of physical and social tension. The English machinists demand a thorough test of the flooring, fearing the machine's weight will break through. Vulfran's response is immediate: "The supports can be placed there at once." This exchange highlights the friction between industrial progress and structural safety, but also the family dynamics. Vulfran's nephew Casimir appears, looking "disdainfully at the work," a hint of the scheming relatives who later try to control the factory. Perrine, as interpreter, stands between these forces—the workers, the manager, and the family—using her position to observe without being observed.
A Bed of One's Own
Perrine's lodging marks her changing status. After becoming interpreter, she secures a room at the inn—"not a miserable garret" but a real bedroom with sheets. Yet she cannot sleep: "every now and then she would start up in bed." The narrative dwells on this insomnia, contrasting her physical comfort with her mental unrest. The English machinists, by contrast, take baths and eat hearty breakfasts, oblivious to the village's norms. Perrine's excitement and anxiety are rooted in her secret: she is close to her grandfather but cannot yet claim him. The bed, like her role, is a provisional comfort, not a resolution.
Readers should attend to the small, recurring details that signal Perrine's double life: her donkey Palikare, the hut on the island, the English phrases she translates. The story rewards attention to what is left unsaid—the moments when Perrine hesitates, the gaps in her translations, the objects she carries from her past. These fragments, not the plot's larger turns, reveal the novel's quiet craft.
There’s something about Perrine’s quiet competence—that steady way she reads the room without ever announcing herself—that stayed with me long after closing the book. It made me think of another favorite, where a similar kind of watchfulness turns small gestures into something like grace. Jane Lends A Hand — A Reader’s Guide caught that same gentle current, and I was grateful for the reminder.
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