The Little Green Goblin — Reading Companion
Edition facts
Before opening The Little Green Goblin — Reading Companion, the edition data offers a quick orientation: 35,635 words, 2 hr 35 min estimated reading time, and 6 detected text sections.
The text analysis averages about 11.7 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 “Fantasy 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.
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—as things have the perverse habit of doing with mischievous, fun-loving boys of ten—and he was disgruntled, disgusted. The school year drawing to a close had been one of dreary drudgery; at least that was the retrospective view he took of it. And warm, sunshiny weather had come—the season for outdoor sports and vagrant rambles—and the end was not yet. Still he was a galley slave in the gilded barge of modern education; and open and desperate rebellion was in his heart.
One lesson was not disposed of before another intrusively presented itself, and tasks at home multiplied with a fecundity rivaling that of the evils of Pandora’s box. Yes, Bob was all out of sorts. School was a bore; tasks at home were a botheration, and life was a frank failure. He knew it; and what he _knew_ he knew.
He had come from school on this particular day in an irritable, surly mood, to find that the lawn needed mowing, that the flower-beds needed weeding,—and just when he desired to steal away upon the wooded hillside back of the house and make buckeye whistles! He had demurred, grumbled and growled, and his father had rebuked him. Then he had complained of a headache, and his mother had given him a pill—a pill! think of it—and sent him off to bed.
So here he was, tossing upon his own little bed in his own little room at the back of the house. It was twilight. The window was open, and the sweet fragrance of the honeysuckle flowers floated in to him. Birds were chirping and twittering as they settled themselves to rest among the sheltering boughs of the wild cherry tree just without, and the sounds of laughter and song came from the rooms beneath, where the other members of the family were making merry. Bob was hurt, grieved. Was there such a thing as justice in the whole world? He doubted it! And he wriggled and squirmed from one side of the bed to the other, kicked the footboard and dug his fists into the pillows—burning with anger and consuming with self-pity. At last the gathering storm of his contending emotions culminated in a downpour of tears, and weeping, he fell asleep.
“Hello! Hello, Bob! Hello, Bob Taylor!”
Bob popped up in bed, threw off the light coverings and stared about him. A broad band of moonlight streamed in at the open window, making the room almost as light as day. Not a sound was to be heard. The youngster peered into the shadowy corners and out into the black hallway, straining his ears. The clock down stairs struck ten deliberate, measured strokes.
“I thought I heard somebody calling me,” the lad muttered; “I must have been dreaming.”
He dropped back upon his pillows and closed his eyes.
The boy again sprang to a sitting posture, as quick as a jack-in-a-box, his eyes and mouth wide open. He was startled, a little frightened.
“Hel—hello yourself!” he quavered.
“I’m helloing you,” the voice replied. “I’ve no need to hello myself; _I’m_ awake.”
Bob looked all around, but could not locate the speaker.
“I’m awake, too,” he muttered; “at least I guess I am.”
“Yes, you’re awake all right enough now,” the voice said; “but I nearly yelled a lung loose getting you awake.”
“Well, where are you?” the boy cried.
A hoarse, rasping chuckle was the answer, apparently coming from the open window. Bob turned his eyes in that direction and blinked and stared, and blinked again; for there upon the sill, distinctly visible in the streaming white moonlight, stood the oddest, most grotesque figure the boy had ever beheld. Was it a dwarfed and deformed bit of humanity, or a gigantic frog masquerading in the garb of a man? Bob could not tell; so he ventured the very natural query:
“I’m a goblin,” his nocturnal visitor made reply, in a harsh strident, parrot-like voice.
“A goblin?” Bob questioned.
“Well, what’s a goblin?”
“Don’t you know?” in evident surprise.
“Why, boy—boy! Your education has been sadly amiss.”
“I know it,” Bob replied with unction, his school grievances returning in full force to his mind. “But what is a goblin? Anything like a gobbler?”
“Stuff!” his visitor exclaimed in a tone of deep disgust. “Anything like a gobbler! Bob, you ought to be ashamed. Do I look anything like a turkey?”
“No, you look like a frog,” the boy laughed.
“Shut up!” the goblin croaked.
“I won’t!” snapped the boy.
“Look here!” cried the goblin. “Surely you know what goblins are. You’ve read of ’em—you’ve seen their pictures in books, haven’t you?”
The first chapter introduces Bob Taylor as a boy thoroughly out of sorts: school is a "dreary drudgery," chores are a "botheration," and life is a "frank failure." His rebellion is domestic—grumbling, feigning a headache, receiving a pill—before the titular goblin appears at midnight. The narrative voice aligns with Bob's perspective, using exaggerated complaints and a colloquial tone that signals a juvenile fantasy rather than a moralistic tale. The goblin's entrance is abrupt, and the reader, like Bob, is left uncertain whether this is dream or reality.
Bob's Discontent as a Narrative Engine
The opening pages establish Bob's mood through a series of grievances: the school year's end is not coming fast enough, tasks multiply like "the evils of Pandora's box," and his parents respond with a pill rather than sympathy. This exaggerated misery serves as a springboard for the goblin's visit, which promises escape. Notably, Bob's complaints are specific to a ten-year-old's world—buckeye whistles, mowing lawns, weeding flower-beds—grounding the fantasy in recognizable domestic frustration. The text does not yet reveal whether the goblin is real or a figment, leaving the reader to weigh Bob's reliability as a narrator.
The Goblin's Ambiguous Authority
In the middle excerpt, the goblin Fitz Mee displays both knowledge and evasion. He identifies a mirage and an oasis, but when the balloon's selector malfunctions, he hesitates to explain: "I don't want to scare you, Bob." His explanation about a magnetic mountain in Africa introduces a fantastical hazard, yet his manner—"smiling pityingly," "snickered," "drowsily shook his head"—undermines his credibility. The reader, like Bob, must decide whether Fitz is a reliable guide or a trickster. The goblin's reluctance to share information creates tension, hinting that the journey may be as much about navigating deception as about geography.
Shifting Realities and Visual Deception
The episode of the mirage is a key structural moment. Bob sees a beautiful city with "white walls, domes and spires" that gradually fades; Fitz corrects him, explaining it was an illusion. This scene establishes a pattern: what appears solid may be insubstantial, and the goblin's interpretations override Bob's senses. The oasis that follows is real, but the reader is now primed to question every sight. The text uses visual details—the binoculars, the setting sun, the "blue lake"—to create a vivid but unreliable landscape. This motif of deceptive appearances recurs when the selector fails, suggesting that even technology (the balloon's selector) can be misled by unseen forces.
The Journey's Unresolved Mechanics
The later excerpt introduces a wireless phone message to Goblinland, a detail that blends contemporary technology (circa 1907) with fantasy. Fitz Mee produces a "small shiny metallic box" to communicate, but the text does not explain how it works or whether it succeeds. The reader is left with unanswered questions: What is the magnetic mountain? Can the selector be repaired? Will they reach Goblinland? These open threads are typical of serialized adventure, but the excerpts provide no resolution. A first-time reader should expect that not all mysteries will be solved immediately, and that the narrative prioritizes incident over explanation.
The excerpts present a fantasy that balances boyish rebellion with genuine uncertainty. Bob's initial anger gives way to wonder, but the goblin's evasiveness and the recurring mirages keep the reader alert. Pay attention to who corrects whom: the goblin repeatedly reinterprets Bob's observations, suggesting that authority in this world is slippery. The story does not promise a straightforward moral; instead, it invites the reader to enjoy the journey's unpredictability while questioning what is real.
I kept thinking about The Little Green Goblin’s shifting reality while rereading a passage late last night, and somehow my mind wandered to The convict's child — Story, Setting & Ideas. That same uneasy sense of a world not quite fixed, where loyalties and truths bend. Both feel like quiet experiments in how uncertain a familiar journey can become.
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