Nobody's Girl / (En Famille)

Nobody's Girl, published in France under the title En Famille , follows Nobody's Boy as a companion juvenile story, and takes place with it as one of the supreme juvenile stories of the world. Like Nobody's Boy it was also crowned by the Academy, and that literary judgment has also been verified by the test of time.
Nobody's Girl is not a human document, such as is Nobody's Boy , because it has more story plot, and the adventure is in a more restricted field, but it discloses no less the nobility of a right-minded child, and how loyalty wins the way to noble deeds and life. This is another beautiful literary creation of Hector Malot which every one can recommend as an ennobling book, of interest not only to childhood, page by page to the thrilling conclusion, but to every person who loves romance and character.
Only details, irrelevant for readers in America, have been eliminated. Little Perrine's loyal ideals, with their inspiring sentiments, are preserved by her through the most discouraging conditions, and are described with the simplicity for which Hector Malot is famous. The building up of a little girl's life is made a fine example for every child. Every reader of this story leaves it inspired for the better way.
The Publishers.

IT WAS Saturday afternoon about 3 o'clock. There was the usual scene; outside the Gates of Bercy there was a crowd of people, and on the quays, four rows deep, carts and wagons were massed together. Coal carts, carts heaped with hay and straw, all were waiting in the clear, warm June sunshine for the examination from the custom official. All had been hurrying to reach Paris before Sunday.
Amongst the wagons, but at some little distance from the Gates, stood an odd looking cart, a sort of caravan. Over a light frame work which was erected on four wheels was stretched a heavy canvas; this was fastened to the light roof which covered the wagon. Once upon a time the canvas might have been blue, but it was so faded, so dirty and worn, that one could only guess what its original color had been. Neither was it possible to make out the inscriptions which were painted on the four sides. Most of the words were effaced. On one side there was a Greek word, the next side bore part of a German word, on the third side were the letters F I A, which was evidently Italian, and on the last a newly painted French word stood out boldly. This was PHOTOGRAPHIE , and was evidently the translation of all the others, indicating the different countries through which the miserable wagon had come before it had entered France and finally arrived at the Gates of Paris.