The man she hated — Inside the Classic
Edition facts
The source record for The man she hated — Inside the Classic measures this digital text at 56,363 words, 4 hr 6 min estimated reading time, and 42 detected text sections.
The text analysis averages about 19.9 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 “Love stories,” 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
“Fair Fielding, I heard something about you last night,” said one of the sewing girls in an uptown factory in New York to her nearest neighbor, a very young girl, whose red-brown head was bent over a sewing machine as she deftly guided her work, a heap of fine white muslin, beneath the shining needle.
“What?” asked Fairfax Fielding, lifting her sparkling brown eyes--they were the brightest, softest, loveliest brown eyes, although their owner was only a little sewing girl--a garment maker. You would not find in a day’s journey a prettier face than hers, with its complexion as smooth and clear as the petals of a creamy tea rose, its piquant dimples whenever she smiled, its well-shaped features, and broad, intelligent, white brow, shaded by babyish, curling locks of hair that the girls teasingly called red, but which in reality was beautiful, dusky, red gold, with such warm glints of light in its dark waves that it made other colors appear tame and common by contrast. With that shining hair, those liquid brown eyes, and that expression of gentleness and purity marking the fair brow and rosebud lips, Fair was more than pretty.
Sadie Allen smiled roguishly, and said:
“I heard you were going to get married, that’s what!”
There was a little feminine titter from every girl in the range of hearing, and Fair’s dainty wild-rose bloom deepened to angry scarlet.
“It’s not true, and I don’t believe you ever heard it, Sadie Allen. You’re only trying to tease me, for you know I have no beaus; and, what’s more, don’t want any,” she retorted spiritedly.
“You forget Waverley Osborne,” said a teasing voice on the other side of Fair’s machine.
There was a double row of sewing machines in the large room, all fastened to two long, narrow tables, with small round niches cut on the sides, in which the operators sat at their machines.
In this factory a large number of women and girls were employed, and Fairfax Fielding, who had come here at twelve years old, as an errand girl, at three dollars per week, was in her apprenticeship to the business now, and earning her seven dollars per week at the sewing machine. She was seventeen years old, and if she stayed until she was twenty she would earn double that sum. In this establishment were many women and girls who had been here from childhood, and the employees were mostly well known to each other, and, with few exceptions, on amiable terms.
One of the exceptions in the present case was a new girl, a handsome blonde, who was an expert worker, and commanded the highest wages paid to a machine embroiderer. She had left another factory to apply at this one for work, and it was whispered among the girls that the cause was that her beau was a clerk in the warerooms below.
Whether this report was true or not, it is very certain that Miss Platt lifted her large, cold blue eyes with a stare of angry surprise when the name of Waverley Osborne was mentioned, and listened intently for the answer.
It was not long in coming, for Fair Fielding tossed her head petulantly, and exclaimed:
“Now, girls, please don’t plague me about him. You know I hate him.”
“Anyhow, he sent you flowers once, and walked home with you twice last week,” laughed Sadie Allen, who was fond of teasing Fair.
“No, he only walked with me once,” corrected Fair quickly. Her eyes flashed as she continued: “I told him then I didn’t want his company, but I couldn’t get rid of him. He would go, and insisted on calling on my mother, too, but,” emphatically, “I guess--she--made--him--understand.”
Miss Platt looked up quickly from the silken lilies she was embroidering on white cashmere.
“What did your mother make him understand?” she asked, in a voice thick with suppressed excitement.
Fair was not in the secret as to the cause of Miss Platt’s interest. The girls had decided that it would be a pity to spoil sport, and mar Mr. Osborne’s chances with Fair by telling her the truth.
So they listened eagerly for her answer, and, turning her bright eyes on the speaker’s face, she replied unhesitatingly:
“She told him she didn’t want him to walk home with me, call on me, nor show me any attention.”
“Why? Wasn’t he good enough?” sneeringly.
Fair looked at her in surprise.
“I don’t know why you should talk so snappish about it, Miss Platt,” she said resentfully. “If my mother doesn’t wish me to keep company with gentlemen, it isn’t any business of yours, is it?”
The novel opens with a sharp contrast between appearance and reality: Fairfax Fielding, a sewing girl in a New York factory, is described with the language of a romance heroine—"sparkling brown eyes," "complexion as smooth and clear as the petals of a creamy tea rose"—yet her labor is precise and mechanical, guiding "a heap of fine white muslin" under a needle. This duality recurs throughout the excerpts, where characters are repeatedly misread by others and by themselves. The title's promise of hatred is complicated by the fact that the man she hates, Carl Bernicci, is also the man who loved her desperately enough to deceive her into marriage—and later to drown himself in the East River when she disappears.
Misread Identities and the Limits of Sympathy
The excerpts reveal a pattern of characters judging others based on incomplete or distorted stories. When Fair reads a newspaper account of her own life—calling her marriage a "tissue of lies"—she is horrified not only by the slander that she "had gone to the bad" but by her lover Bayard Lorraine's reaction. He pronounces both Carl Bernicci and his bride "repulsive," reserving sympathy for the man's "desperate love" while dismissing the wife as "hard and unforgiving." Fair, who is that wife, must silently endure his judgment. The narrative thus builds tension between what is known publicly and what is true privately, a gap that drives much of the plot's emotional force.
The Working Girl as Romantic Puzzle
Fair's social position as a "little sewing girl" is repeatedly emphasized, yet the novel treats her inner life with complexity. Bayard recalls a former love—"a poor working girl"—whom he insists was "as well worthy my love as one of the daughters of the rich." This defense of a working girl's worth sits uneasily beside his later condemnation of the factory girl in the newspaper story, whom he does not recognize as Fair. The text thus uses class as both a barrier to understanding and a source of dramatic irony: the reader knows Fair's full history, but the characters do not. Miller's dime-novel format allows for rapid shifts between factory floor, luxury travel, and romantic confrontation, keeping the working girl's perspective central even as she moves through different social spheres.
Strategic Deception and Its Costs
The subtitle "Won by Strategy" signals that deception is not merely a plot device but a thematic concern. Carl Bernicci's "one great fault" was deceiving Fair to win her hand; Fair herself later disappears to escape him, a strategic move that leads to his suicide. The newspaper account frames her disappearance as a fall into "evil ways," but Fair insists she was "most falsely accused." The novel thus presents multiple layers of strategic behavior—some sympathetic, some destructive—and invites the reader to weigh intentions against outcomes. Bayard's own withheld story about a past working-girl love hints that he, too, may be practicing a form of concealment. The excerpts do not resolve whether strategy can ever be fully justified, leaving the reader to watch how these deceptions unfold.
Readers should attend to the way Miller uses newspaper articles, overheard conversations, and characters' private thoughts to create a layered narrative where no single version of events is complete. The dime-novel format rewards quick reading, but the text's interest in misreading and reputation rewards closer attention to who knows what and when. Watch for the recurring motif of the "curly head" and the red-gold hair—a physical marker that ties Fair to both her factory past and her romantic present, even as others fail to connect the two.
I remember when The Man She Hated first crossed my desk, that tangled tale of secrets kept for love's sake. Years later, shelving Princess Puck — Text and Context, I felt that same quiet ache—the way a bright facade hides a bruised heart, and how we read between lines to find what a story won't say aloud.
There are no reviews for this eBook.
What was your reading experience?
Capture what you thought, learned, and would like to remember.