Nobody — Story, Setting & Ideas

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Warner, Susan, 1819-1885 Project Gutenberg 2009 Not confirmed
Christian life -- Juvenile fiction; Conduct of life -- Juvenile fiction; Siblings -- Juvenile fiction; Voyages and travels -- Juvenile fiction; Courtship -- Juvenile fiction; Happiness -- Juvenile fiction; Gardens -- Juvenile fiction; Social status -- Juvenile fiction Readers of public-domain and historical texts
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Words 161,368
Reading time 702 min
Text sections 16

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Susan Warner's 'Nobody' (1883) follows Lois Lothrop, a country girl whose quiet integrity and firm principles are tested by wealth, courtship, and social mobility. The narrative shifts between brisk dialogue and reflective letters, revealing character through voice and pace.
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III. A LUNCHEON PARTY

IV. ANOTHER LUNCHEON PARTY

VII. THE WORTH OF THINGS

XVI. MRS. MARX'S OPINION

XVIII. MR. DILLWYN'S PLAN

XXI. GREVILLE'S MEMOIRS

XXIII. A BREAKFAST TABLE

XXVII. PEAS AND RADISHES

XXVIII. THE LAGOON OF VENICE

XXXIII. THE VALUE OF MONEY

XXXIV. UNDER AN UMBRELLA

XXXVI. TWO SUNDAY SCHOOLS

XXXVII. AN OYSTER SUPPER

XLIV. CHOOSING A WIFE

XLVIII. ANNOUNCEMENTS

"Tom, who was that girl you were so taken with last night?"

"Wasn't particularly taken last night with anybody."

Which practical falsehood the gentleman escaped from by a mental reservation, saying to himself that it was not _last night_ that he was "taken."

"I mean the girl you had so much to do with. Come, Tom!"

"I hadn't much to do with her. I had to be civil to somebody. She was the easiest."

"Her name is Lothrop."

"O you tedious boy! I know what her name is, for I was introduced to her, and Mrs. Wishart spoke so I could not help but understand her; but I mean something else, and you know I do. Who is she? And where does she come from?"

"She is a cousin of Mrs. Wishart; and she comes from the country somewhere."

"One can see _that_."

"How can you?" the brother asked rather fiercely.

"You see it as well as I do," the sister returned coolly. "Her dress shows it."

"I didn't notice anything about her dress."

"Well, you women dress for the men. If you only knew a thing or two, you would dress differently."

"That will do! You would not take me anywhere, if I dressed like Miss Lothrop."

"I'll tell you what," said the young man, stopping short in his walk up and down the floor;--"she can afford to do without your advantages!"

"Mamma!" appealed the sister now to a third member of the party,--"do you hear? Tom has lost his head."

The lady addressed sat busy with newspapers, at a table a little withdrawn from the fire; a lady in fresh middle age, and comely to look at. The daughter, not comely, but sensible-looking, sat in the glow of the fireshine, doing nothing. Both were extremely well dressed, if "well" means in the fashion and in rich stuffs, and with no sparing of money or care. The elder woman looked up from her studies now for a moment, with the remark, that she did not care about Tom's head, if he would keep his heart.

"But that is just precisely what he will not do, mamma. Tom can't keep anything, his heart least of all. And this girl mamma, I tell you he is in danger. Tom, how many times have you been to see her?"

"I don't go to see _her;_ I go to see Mrs. Wishart."

"Oh!--and you see Miss Lothrop by accident! Well, how many times, Tom? Three--four--five."

"Don't be ridiculous!" the brother struck in. "Of course a fellow goes where he can amuse himself and have the best time; and Mrs. Wishart keeps a pleasant house."

"Especially lately. Well, Tom, take care! it won't do. I warn you."

"What won't do?"--angrily.

"This girl; not for _our_ family. Not for you, Tom. She hasn't anything,--and she isn't anybody; and it will not do for you to marry in that way. If your fortune was ready made to your hand, or if you were established in your profession and at the top of it,--why, perhaps you might be justified in pleasing yourself; but as it is, _don't_, Tom! Be a good boy, and _don't!_"

"My dear, he will not," said the elder lady here. "Tom is wiser than you give him credit for."

"I don't give any man credit for being wise, mamma, when a pretty face is in question. And this girl has a pretty face; she is very pretty. But she has no style; she' is as poor as a mouse; she knows nothing of the world; and to crown all, Tom, she's one of the religious sort.--Think of that! One of the real religious sort, you know. Think how that would fit."

"What sort are you?" asked her brother.

"Not that sort, Tom, and you aren't either."

"How do you know she is?"

"Very easy," said the girl coolly. "She told me herself."

"O, simply enough. I was confessing that Sunday is such a fearfully long day to me, and I did not know what to do with it; and she looked at me as if I were a poor heathen--which I suppose she thought me--and said, 'But there is always the Bible!' Fancy!--'always the Bible.' So I knew in a moment where to place her."

"I don't think religion hurts a woman," said the young man.

"But you do not want her to have too much of it--" the mother remarked, without looking up from her paper.

"I don't know what you mean by too much, mother. I'd as lief she found Sunday short as long. By her own showing, Julia has the worst of it."

"Mamma! speak to him," urged the girl.

"No need, my dear, I think. Tom isn't a fool."

"Any man is, when he is in love, mamma."

Tom came and stood by the mantelpiece, confronting them. He was a remarkably handsome young man; tall, well formed, very well dressed, hair and moustaches carefully trimmed, and features of regular though manly beauty, with an expression of genial kindness and courtesy.

"I am not in love," he said, half laughing. "But I will tell you,--I never saw a nicer girl than Lois Lothrop. And I think all that you say about her being poor, and all that, is just--bosh."

The newspapers went down.

"My dear boy, Julia is right. I should be very sorry to see you hurt your career and injure your chances by choosing a girl who would give you no sort of help. And you would regret it yourself, when it was too late. You would be certain to regret it. You could not help but regret it."

"I am not going to do it. But why should I regret it?"

"You know why, as well as I do. Such a girl would not be a good wife for you. She would be a millstone round your neck."

Perhaps Mr. Tom thought she would be a pleasant millstone in those circumstances; but he only remarked that he believed the lady in question would be a good wife for whoever could get her.

"Well, not for you. You can have anybody you want to, Tom; and you may just as well have money and family as well as beauty. It is a very bad thing for a girl not to have family. That deprives her husband of a great advantage; and besides, saddles upon him often most undesirable burdens in the shape of brothers and sisters, and nephews perhaps. What is this girl's family, do you know?"

"Respectable," said Tom, "or she would not be a cousin of Mrs. Wishart. And that makes her a cousin of Edward's wife."

"My dear, everybody has cousins; and people are not responsible for them. She is a poor relation, whom Mrs. Wishart has here for the purpose of befriending her; she'll marry her off if she can; and you would do as well as another. Indeed you would do splendidly; but the advantage would be all on their side; and that is what I do not wish for you."

Tom was silent. His sister remarked that Mrs. Wishart really was not a match-maker.

"No more than everybody is; it is no harm; of course she would like to see this little girl well married. Is she educated? Accomplished?"

"Tom can tell," said the daughter. "I never saw her do anything. What can she do, Tom?"

"_Do?_" said Tom, flaring up. "What do you mean?"

"No, and I am glad she can't. If ever there was a bore, it is the performances of you young ladies on the piano. It's just to show what you can do. Who cares, except the music master?"

"Can she speak French?"

"French!" cried Tom. "Who wants her to speak French? We talk English in this country."

"But, my dear boy, we often have to use French or some other language, there are so many foreigners that one meets in society. And a lady _must_ know French at least. Does she know anything?"

"I don't know," said Tom. "I have no doubt she does. I haven't tried her. How much, do you suppose, do girls in general know? girls with ever so much money and family? And who cares how much they know? One does not seek a lady's society for the purpose of being instructed."

"One might, and get no harm," said the sister softly; but Tom flung out of the room. "Mamma, it is serious."

"Do you think so?" asked the elder lady, now thrusting aside all her papers.

"I am sure of it. And if we do not do something--we shall all be sorry for it."

"What is this girl, Julia? Is she pretty?"

Julia hesitated. "Yes," she said. "I suppose the men would call her so."

"Well, yes, mamma; she is pretty, handsome, in a way; though she has not the least bit of style; not the least bit! She is rather peculiar; and I suppose with the men that is one of her attractions."

"Peculiar how?" said the mother, looking anxious.

"I cannot tell; it is indefinable. And yet it is very marked. Just that want of style makes her peculiar."

"Not awkward. How then? Shy?"

"How then, Julia? What is she like?"

"It is hard to tell in words what people are like. She is plainly dressed, but not badly; Mrs. Wishart would see to that; so it isn't exactly her dress that makes her want of style. She has a very good figure; uncommonly good. Then she has most beautiful hair, mamma; a full head of bright brown hair, that would be auburn if it were a shade or two darker; and it is somewhat wavy and curly, and heaps itself around her head in a way that is like a picture. She don't dress it in the fashion; I don't believe there is a hairpin in it, and I am sure there isn't a cushion, or anything; only this bright brown hair puffing and waving and curling itself together in some inexplicable way, that would be very pretty if it were not so altogether out of the way that everybody else wears. Then there _is_ a sweet, pretty face under it; but you can see at the first look that she was never born or brought up in New York or any other city, and knows just nothing about the world."

"Dangerous!" said the mother, knitting her brows.

"Yes; for just that sort of thing is taking to the men; and they don't look any further. And Tom above all. I tell you, he is smitten, mamma. And he goes to Mrs. Wishart's with a regularity which is appalling."

"Tom takes things hard, too," said the mother.

"Foolish boy!" was the sister's comment.

"I'll tell you, mamma. I've been thinking. Your health will never stand the March winds in New York. You must go somewhere."

"Florida, for instance?"

"I should like it very well."

"It would be better anyhow than to let Tom get hopelessly entangled."

"Anything would be better than that."

"And prevention is better than cure. You can't apply a cure, besides. When a man like Tom, or any man, once gets a thing of this sort in his head, it is hopeless. He'll go through thick and thin, and take time to repent afterwards. Men are so stupid!"

"Not I, mamma; if you mean me. I hope for the credit of your discernment you don't."

"Lent will begin soon," observed the elder lady presently.

"Lent will not make any difference with Tom," returned the daughter. "And little parties are more dangerous than big ones."

"What shall I do about the party we were going to give? I should be obliged to ask Mrs. Wishart."

"I'll tell you, mamma," Julia said after a little thinking. "Let it be a luncheon party; and get Tom to go down into the country that day. And then go off to Florida, both of you."

"How do you like New York, Lois? You have been here long enough to judge of us now?"

Mrs. Wishart and her guest being at breakfast, this question and answer go over the table. It is not exactly in New York, however. That is, it is within the city bounds, but not yet among the city buildings. Some little distance out of town, with green fields about it, and trees, and lawn sloping down to the river bank, and a view of the Jersey shore on the other side. The breakfast room windows look out over this view, upon which the winter sun is shining; and green fields stand in beautiful illumination, with patches of snow lying here and there. Snow is not on the lawn, however. Mrs. Wishart's is a handsome old house, not according to the latest fashion, either in itself or its fitting up; both are of a simpler style than anybody of any pretension would choose now-a-days; but Mrs. Wishart has no need to make any pretension; her standing and her title to it are too well known. Moreover, there are certain quain't witnesses to it all over, wherever you look. None but one of such secured position would have such an old carpet on her floor; and few but those of like antecedents could show such rare old silver on the board. The shawl that wraps the lady is Indian, and not worn for show; there are portraits on the walls that go back to a respectable English ancestry; there is precious old furniture about, that money could not buy; old and quain't and rich, and yet not striking the eye; and the lady is served in the most observant style by one of those ancient house servants whose dignity is inseparably connected with the dignity of the house and springs from it. No new comer to wealth and place can be served so. The whole air of everything in the room is easy, refined, leisurely, assured, and comfortable. The coffee is capital; and the meal, simple enough, is very delicate in its arrangement.

Only the two ladies are at the table; one behind the coffee urn, and the other near her. The mistress of the house has a sensible, agreeable face, and well-bred manner; the other lady is the one who has been so jealously discussed and described in another family. As Miss Julia described her, there she sits, in a morning dress which lends her figure no attraction whatever. And--her figure can do without it. As the question is asked her about New York, her eye goes over to the glittering western shore.

"I like this a great deal better than the city," she added to her former words.

"O, of course, the brick and stone!" answered her hostess. "I did not mean _that_. I mean, how do you like _us?_"

"Mrs. Wishart, I like _you_ very much," said the girl with a certain sweet spirit.

"Thank you! but I did not mean that either. Do you like no one but me?"

"I do not know anybody else."

"You have seen plenty of people."

"I do not know them, though. Not a bit. One thing I do not like. People talk so on the surface of things."

"Do you want them to go deep in an evening party?"

"It is not only in evening parties. If you want me to say what I think, Mrs. Wishart. It is the same always, if people come for morning calls, or if we go to them, or if we see them in the evening; people talk about nothing; nothing they care about."

"Nothing _you_ care about."

"They do not seem to care about it either."

"Why do you suppose they talk it then?" Mrs. Wishart asked, amused.

"It seems to be a form they must go through," Lois said, laughing a little. "Perhaps they enjoy it, but they do not seem as if they did. And they laugh so incessantly,--some of them,--at what has no fun in it. That seems to be a form too; but laughing for form's sake seems to me hard work."

"My dear, do you want people to be always serious?"

"How do you mean, 'serious'?"

"Do you want them to be always going 'deep' into things?"

"N-o, perhaps not; but I would like them to be always in earnest."

"My dear! What a fearful state of society you would bring about! Imagine for a moment that everybody was always in earnest!"

"Why not? I mean, not always _sober;_ did you think I meant that? I mean, whether they laugh or talk, doing it heartily, and feeling and thinking as they speak. Or rather, speaking and laughing only as they feel."

"My dear, do you know what would become of society?"

"I go to see Mrs. Brinkerhoff, for instance. I have something on my mind, and I do not feel like discussing any light matter, so I sit silent. Mrs. Brinkerhoff has a fearfully hard piece of work to keep the conversation going; and when I have departed she votes me a great bore, and hopes I will never come again. When she returns my visit, the conditions are reversed; I vote _her_ a bore; and we conclude it is easier to do without each other's company."

"But do you never find people a bore as it is?"

Mrs. Wishart laughed. "Do you?"

"Sometimes. At least I should if I lived among them. _Now_, all is new, and I am curious."

"I can tell you one thing, Lois; nobody votes you a bore."

"But I never talk as they do."

"Never mind. There are exceptions to all rules. But, my dear, even you must not be always so desperately in earnest. By the way! That handsome young Mr. Caruthers--does he make himself a bore too? You have seen a good deal of him."

"No," said Lois with some deliberation. "He is pleasant, what I have seen of him."

"And, as I remarked, that is a good deal. Isn't he a handsome fellow? I think Tom Caruthers is a good fellow, too. And he is likely to be a successful fellow. He is starting well in life, and he has connections that will help him on. It is a good family; and they have money enough."

"How do you mean, 'a good family'?"

"Why, you know what that phrase expresses, don't you?"

"I am not sure that I do, in your sense. You do not mean religious?"

"No," said Mrs. Wishart, smiling; "not necessarily. Religion has nothing to do with it. I mean--we mean-- It is astonishing how hard it is to put some things! I mean, a family that has had a good social standing for generations. Of course such a family is connected with other good families, and it is consequently strong, and has advantages for all belonging to it."

"I mean," said Lois slowly, "a family that has served God for generations. Such a family has connections too, and advantages."

"Why, my dear," said Mrs. Wishart, opening her eyes a little at the girl, "the two things are not inconsistent, I hope."

"Wealth and position are good things at any rate, are they not?"

"So far as they go, I suppose so," said Lois. "O yes, they are pleasant things; and good things, if they are used right."

"They are whether or no. Come! I can't have you holding any extravagant ideas, Lois. They don't do in the world. They make one peculiar, and it is not good taste to be peculiar."

"You know, I am not in the world," Lois answered quietly.

"Not when you are at home, I grant you; but here, in my house, you are; and when you have a house of your own, it is likely you will be. No more coffee, my dear? Then let us go to the order of the day. What is this, Williams?"

"For Miss Lot'rop," the obsequious servant replied with a bow,--"de bo-quet." But he presented to his mistress a little note on his salver, and then handed to Lois a magnificent bunch of hothouse flowers. Mrs. Wishart's eyes followed the bouquet, and she even rose up to examine it.

"That is beautiful, my dear. What camellias! And what geraniums! That is the Black Prince, one of those, I am certain; yes, I am sure it is; and that is one of the new rare varieties. That has not come from any florist's greenhouse. Never. And that rose-coloured geranium is Lady Sutherland. Who sent the flowers, Williams?"

From its first page, Nobody announces itself through dialogue. The opening chapter, 'Who Is She?,' is a rapid exchange between Tom and his sister, where their sparring reveals class assumptions and personal investment before any action occurs. Tom's defensive 'Wasn't particularly taken last night with anybody' is undercut by his mental reservation, a technique Warner uses to layer spoken words against unspoken thought. The sister's focus on dress and the brother's retort—'she can afford to do without your advantages'—establish a tension between surface judgment and deeper worth that runs through the novel. Warner's prose alternates between these clipped, naturalistic conversations and more measured, reflective passages, often in letters or narrative summary, creating a rhythm that mirrors the protagonist's own shifts between social exposure and private reflection.

Dialogue as Revelation and Concealment

Warner's dialogue does not merely advance plot; it exposes character through what is left unsaid. In the opening scene, Tom's sister presses him about Lois Lothrop, and his evasions—'I hadn't much to do with her'—are immediately read as false by the reader, who knows his mental reservation. This pattern recurs: characters speak in social formulas while their inner lives are conveyed through brief authorial asides or through the contrast between what they say and what they do. The sister's cool 'One can see that' about Lois's country origins is met with Tom's fierce 'How can you?,' a flash of genuine feeling that punctures the polite surface. Warner uses these verbal skirmishes to map the social terrain: who speaks bluntly, who dissembles, and who listens. The result is a narrative voice that trusts readers to infer motive from tone and pacing, rather than from explicit explanation.

Letters and the Shift to Interiority

Midway through the excerpts, the narrative shifts from dialogue to a long letter, a formal change that slows the pace and deepens interiority. The letter writer describes a family supper party with careful observation: 'the appointments of the table were, as of course they would be, of no pretension to style or elegance; clumsily comfortable, was all you could say.' This measured, analytical voice contrasts sharply with the quick thrusts of the opening dialogue. The letter also introduces doubt—'I have doubts on another question'—and speculation about Lois's past attachments, a shift from external action to psychological uncertainty. Warner uses the epistolary mode to allow characters to reflect at length, creating a counterpoint to the novel's more dramatic scenes. The change in pace signals a move from social performance to private deliberation, a structural choice that underscores the theme of hidden feeling.

Objects and the Weight of Description

Warner's descriptive passages often center on material objects—a piano, books, a hymn-book—that carry emotional and thematic weight. When Mrs. Barclay asks Lois, 'Shall I teach you?' the piano becomes a gateway to transformation, and Lois's breathless 'O, you could not!' reveals both desire and self-doubt. The arrival of a 'fine Chickering piano' between Christmas and New Year's is noted with the same precision as the 'clumsily comfortable' table appointments in the letter. These objects are not mere props; they are markers of class, aspiration, and the tension between simplicity and refinement. Warner's prose lingers on them just long enough to suggest their significance without becoming heavy-handed. The books that 'continued to flow in'—'science and art, history and biography, poetry and general literature'—are listed in a way that implies abundance and possibility, yet the narrative never loses sight of Lois's own voice, which remains distinct even as her world expands.

Readers attentive to shifts in narrative pace will find that Warner uses dialogue, letter-writing, and descriptive set-pieces as distinct registers, each calibrating the distance between character and reader. The novel's title, Nobody, hints at a central irony: the protagonist is constantly being defined by others, yet her inner life resists easy categorization. Pay attention to who speaks and who writes, and to the moments when the prose slows to observe a room or a gesture—these are the points where the story's deepest concerns surface.

That rainy afternoon, Nobody sat open on my lap, and I kept thinking about Lois’s stubborn quietness—how she didn’t bend for anyone’s approval. The drizzle made everything feel slower, more reflective. Somehow my hand wandered to the shelf and pulled down Holiday Tales: Christmas in the Adirondacks — Reading Companion, and there it was again: that same unhurried strength in the snowy woods. It felt less like discovery, more like recognizing an old friend’s handwriting.

Evelyn Torres
1 month ago

Sebastian Taylor
1 month ago

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  • ...
    Misty Gonzalez - 3 weeks ago
    {'review_type': 'positive', 'content': "A gripping psychological thriller that keeps you guessing until the very end. 'Nobody' explores themes of identity and loneliness with remarkable depth. The protagonist is complex and relatable, and the twist is genuinely surprising. The author masterfully builds tension, and the writing is crisp and immersive. This is a must-read for anyone who enjoys character-driven suspense."}

  • ...
    Margaret Carlson - 3 weeks ago
    {'review_type': 'negative', 'content': "Despite an interesting concept, 'Nobody' is let down by weak execution. The narrative feels disjointed, and the protagonist's motivations are unclear. The dialogue is stilted, and the twists are more confusing than surprising. The book could have been trimmed by a third. While there are moments of brilliance, they are overshadowed by the overall lack of cohesion."}

  • ...
    Tami Smith - 2 weeks ago
    {'review_type': 'neutral', 'content': "An intriguing premise with a strong start, but the middle part drags a bit. The character development is good, and the atmosphere is well-crafted. However, the pacing is uneven, and some plot points feel rushed. The ending is satisfying, though. Overall, it's a solid thriller, but not without its flaws."}


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