The Goose Man — Edition Insights
Edition facts
For The Goose Man — Edition Insights, the stored edition analysis reports 202,145 words, 14 hr 39 min estimated reading time, and 18 detected text sections.
The text analysis averages about 16.8 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 “Germany -- 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
the longing of the couple was fulfilled, and the wife became pregnant in the tenth year of their marriage.
The hatred which she nourished was directed against the power loom. In her dreams she saw the machine as a monster with thighs of steel, which screamed out its malignity and devoured the hearts of men. She was embittered by the injustice of a process which gave to impudence and sloth the product that had once come thoughtfully and naturally from the careful hands of men.
One journeyman after another had to be discharged, and one hand-loom after another to be stored in the attic. On many days Marian would slip up the stairs and crouch for hours beside the looms, which had once been set in motion by a determinable and beneficent exertion and were like corpses now.
Gottfried wandered across country, peddling the stock of goods he had on hand. Once on his return he brought with him a piece of machine-made cloth which a merchant of Nördlingen had given him. “Look, Marian, see what sort of stuff it is,” he said, and handed it to her. But Marian drew her hand away, and shuddered as though she had seen the booty of a murderer.
After the birth of her boy she lost these morbid feelings; Gottfried on the other hand seemed to dwindle from month to month. Though he outlasted the years, there was no cheer left in him and he got no comfort even from his growing boy. When he had sold all his own wares, he took those of others, and dragged himself wearily in summer and winter from village to village.
In spite of the scarcity that prevailed in the house, Marian was convinced that Gottfried had put by money, and certain hints which he threw out confirmed her in this hope. It was one of his peculiar views that it was better to leave his wife in the dark regarding the true state of their fortunes. As their circumstances grew worse, he became wholly silent on this point.
On the square of the grain merchants in Nuremberg, Jason Philip Schimmelweis, the husband of Marian’s sister, had his bookbinder’s shop.
Schimmelweis was a Westphalian. Hatred against the junkers and the priests had driven him to this Protestant city of the South, where from the beginning he had acquired the respect of people through his ready wit and speech. Theresa Höllriegel had lodged in the house in which he opened his shop, and gained her living as a seamstress. He had thought that she had some money, but it had proved to be too little for his ambitious notions. When he discovered that, he treated Theresa as though she had cheated him.
He held his trade in contempt, and was ambitious of greater things. He felt that he was called to be a bookseller; but he had no capital wherewith to realise this plan. So he sat morosely in his subterranean shop, pasted and folded and quarrelled with his lot, and in his hours of leisure read the writings of socialists and freethinkers.
It was the Autumn in which the war against France was raging. On that very morning had come the news of the battle of Sedan. All the church bells were ringing.
To the surprise of Jason Philip, Gottfried Nothafft stepped into his shop. His long, patriarchal beard and tall stature gave something venerable to his appearance, even though his face looked tired and his eyes were dull.
“God bless you, brother,” he said and held out his hand. “The fatherland has better luck than its citizens.”
Schimmelweis, who did not like the visits of kinsmen, returned the salutation with careful coolness. His features did not brighten until he heard that his brother-in-law was stopping at the Red Cock Inn. He asked what errand had brought Gottfried to the city.
“I must have a talk with you,” Nothafft replied.
They entered a room behind the shop and sat down. Jason Philip’s eyes harboured even now a definitely negative answer to any proposal that might cost him money or trouble. But he was to be agreeably disappointed.
The novel opens with a landscape of deep forests and high grass where geese appear as "strangely mobile flowers," a detail that signals Wassermann's eye for the uncanny within the ordinary. The town of Eschenbach is described as a place where "a fragment of the Middle Ages has survived," yet the narrative immediately notes that "the spirit of modern industrialism hewed its destructive path even to this forgotten nook." This tension between timelessness and encroaching change permeates the early chapters. The weaver Gottfried Nothafft and his wife Marian inhabit a world of moss-covered walls and drawbridges, but the story quickly moves to their son Daniel, a composer whose return after seven years triggers a series of revelations about paternity, shame, and the strange grace of a child named Eva.
A Landscape of Concealment and Revelation
The opening description of the countryside around Eschenbach is more than scenic backdrop: it establishes a pattern of hiddenness. The grass grows so high around the weirs that "you can see only the beaks of the droves of geese," and were it not for their cackle, those beaks might be taken for "strangely mobile flowers." This image of creatures partially obscured, their true nature disguised, recurs when Daniel returns to find a four-year-old child with "marvellous blue eyes" who is revealed to be his own daughter—a secret kept by his mother and Eleanore. The child, Eva, is described as having "something divinely graceful and airy," born of a "gawky, uncouth servant girl." The landscape's pattern of concealment mirrors the novel's central revelations: what is hidden eventually surfaces, often with unsettling beauty.
The Weight of Return and the Fragility of Home
When Daniel passes through the village gate after seven years, everything seems "ridiculously small"—the Town Hall, the Church, the Market Place, the Eschenbach Fountain. He had imagined the houses and streets as "cleaner and better kept." This deflation of memory is a key structural element: the past does not match the present, and homecoming brings not comfort but a shrinking of scale. The three steps at the front gate, "each one of which was bulging out like a huge oyster shell," become a threshold between the idealized past and the compromised present. Inside, the smell of spices in the shop makes "the past dwindle to nothing." Wassermann uses these sensory details to ground Daniel's dislocation, suggesting that return is not a restoration but a confrontation with what time has altered.
Shame, Gratitude, and the Unspoken Contract
Daniel's reaction to learning of Eva's existence is a study in conflicting emotions: he blushes, turns pale, covers his face. The narrative notes that "to express gratitude would be vulgar; to conceal his emotions was difficult." He feels shame in the presence of both women, yet when he looks at the child, "his shame lost all meaning." Eleanore, who orchestrated the child's arrival, appears to him "equally amiable and worthy of respect" whether regarded as an active or a feeling woman. The passage captures a moral ambiguity that runs through the novel: actions that might be judged as manipulative are also acts of profound care. Daniel "almost shuddered" at Eleanore's proximity, and the word "humility" suggests a power imbalance that the narrative does not resolve. The child herself becomes a kind of living question about where responsibility ends and fate begins.
Readers should attend to the way Wassermann embeds moral complexity in small gestures and domestic spaces. The novel's title, referencing a Nuremberg statue, hints at a fable-like quality, but the excerpts show a work more concerned with the weight of secrets and the strangeness of human bonds than with simple allegory. Pay attention to how objects—the bulging steps, the child's delicate wrists—carry emotional and thematic significance. The translation by Ludwig Lewisohn and Allen W. Porterfield preserves a formal, slightly archaic tone that suits the story's blend of realism and symbolic resonance.
Reading of Daniel Nothafft’s quiet return to Eschenbach, I found myself thinking of the loom-rooms in Reels and Spindles: A Story of Mill Life — A Closer Reading. Both towns hold a hum—one of bells, the other of shuttles—and both protagonists carry a homesickness that arriving only deepens. It’s a strange comfort, that shared ache.
There are no reviews for this eBook.
Record your reading impressions
A brief reflection can help important ideas stay with you longer.