The Vultures — Key Ideas to Explore
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The source record for The Vultures — Key Ideas to Explore measures this digital text at 96,404 words, 7 hr estimated reading time, and 13 detected text sections.
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Project Gutenberg metadata also associates the work with “Spy stories,” connecting these edition facts with the source record’s subject description.
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istinctive about his dress. His demeanor was quiet. When he spoke he was habitually asked to repeat his remark, which he did, with patience, in the same soft, inaudible voice.
There were two men on board this great steamer who were not business men--Joseph P. Mangles and Reginald Cartoner; and, like two ships on a sea of commercial interests, they had drifted together during the four days that had elapsed since their departure from New York. Neither made anything, or sold anything, or had a card in his waistcoat-pocket ready for production at a moment's notice, setting forth name and address and trade. Neither was to be suspected of a desire to repel advances, and yet both were difficult to get on with. For human confidences must be mutual. It is only to God that man can continue telling, telling, telling, and getting never a word in return. These two men had nothing to tell their fellows about themselves; so the other passengers drifted away into those closely linked corporations characteristic of steamer life and left them to themselves--to each other.
And they had never said things to each other--had never, as it were, got deeper than the surface of their daily life.
Cartoner was a dreamy man, with absorbed eyes, rather deeply sunk under a strong forehead. His eyelids had that peculiarity which is rarely seen in the face of a man who is a nonentity. They were quite straight, and cut across the upper curve of the pupil. This gave a direct, stern look to dreamy eyes, which was odd. After a pause, he turned slowly, and looked down at his companion with a vague interrogation in his glance. He seemed to be wondering whether Mr. Mangles had spoken. And Mangles met the glance with one of steady refusal to repeat his remark. But Mangles spoke first, after all.
“Yes,” he said, “the women will be on deck soon--and my sister Jooly. You don't know Jooly?”
He spoke with a slow and pleasant American accent.
“I saw you speaking to a young lady in the saloon after luncheon,” said Cartoner. “She had a blue ribbon round her throat. She was pretty.”
“That wasn't Jooly,” said Mr. Mangles, without hesitation.
“Who was it?” asked Cartoner, with the simple directness of those who have no self-consciousness--who are absorbed, but not in themselves, as are the majority of men and women.
“My niece, Netty Cahere.”
“She is pretty,” said Cartoner, with a spontaneity which would have meant much to feminine ears.
“You'll fall in love with her,” said Mangles, lugubriously. “They all do. She says she can't help it.”
Cartoner looked at him as one who has ears but hears not. He made no reply.
“Distresses her very much,” concluded Mangles, dexterously shifting his cigar by a movement of the tongue from the port to the starboard side of his mouth. Cartoner did not seem to be very much interested in Miss Netty Cahere. He was a man having that air of detachment from personal environments which is apt to arouse curiosity in the human heart, more especially in feminine hearts. People wanted to know what there was in Cartoner's past that gave him so much to think about in the present.
The two men had not spoken again when Miss Netty Cahere came on deck. She was accompanied by the fourth officer, a clean-built, clean-shaven young man, who lost his heart every time he crossed the Atlantic. He was speaking rather earnestly to Miss Cahere, who listened with an expression of puzzled protest on her pretty face. She had wondering blue eyes and a complexion of the most delicate pink and white which never altered. She was slightly built, and carried herself in a subtly deprecating manner, as if her own opinion of herself were small, and she wished the world to accept her at that valuation. She made no sign of having perceived her uncle, but nevertheless dismissed the fourth officer, who reluctantly mounted the ladder to the bridge, looking back as he went.
Mr. Mangles threw his cigar overboard.
“She don't like smoke,” he growled.
Cartoner looked at the cigar, and absent-mindedly threw his cigarette after it. He had apparently not made up his mind whether to go or stay, when Miss Cahere approached her uncle, without appearing to notice that he was not alone.
“I suppose,” she said, “that that was one of the officers of the ship, though he was very young--quite a boy. He was telling me about his mother. It must be terrible to have a near relation a sailor.”
She spoke in a gentle voice, and it was evident that she had a heart full of sympathy for the suffering and the poor.
Henry Seton Merriman's The Vultures opens not in Eastern Europe but on the broad Atlantic, where two men who neither make nor sell anything drift together on a steamer. The narrator immediately distinguishes them from the commercial crowd: Joseph P. Mangles, a dyspeptic, chin-first American, and Reginald Cartoner, a quiet Englishman whose soft voice is habitually missed. The early pages dwell on national character—the offensiveness of Britons and Germans, the comic French—before any hint of espionage emerges. This editorial note examines how the catalog subjects of spy stories and Eastern European fiction align with what the excerpts actually deliver, and how the novel's categorization as 'Fantasy & Juvenile Worlds' sits oddly with its adult, cynical tone.
National Caricatures as Narrative Engine
The excerpts devote considerable space to national stereotypes, treating them as both comic material and serious observation. The narrator remarks that 'the large majority of Britons are offensively British' and that Germans are no better, while a Frenchman is 'only comically French.' Later, a French character named Deulin mocks these very stereotypes: 'the typical Englishman, so dense, so silent, so unobservant… and I, at your service, the typical Frenchman; all shrugs and gesticulations.' This self-aware use of caricature suggests the novel may be playing with reader expectations rather than endorsing them. The spy plot, if it exists, seems filtered through a lens of national performance.
Theatrical Violence and the Sword-Stick
The most extended action scene in the excerpts features Deulin, a Frenchman, wielding a sword-stick against two attackers. The description is deliberately theatrical: Deulin 'leaped across the pavement,' 'ran right round the two men,' and performed 'a hundred tricks of the fencing-floor.' The narrator compares him to a panther, and the fight is bloodless—the sword 'might have been a lady's riding-whip.' This choreographed, almost playful violence contrasts with the grim subject of spy fiction. The scene raises questions about the novel's tone: is it a genuine thriller, or a more ironic, adventure-tinged work? The excerpts do not reveal the outcome or the stakes of this encounter.
Eastern Europe as a Shadowy Setting
Despite the catalog listing 'Europe, Eastern -- Fiction,' the excerpts offer only a brief glimpse of an Eastern European setting: a narrow street 'between the backs of high houses,' with moonlight and deep shadows. The characters move through unnamed towns, and the Frenchman Deulin refers to 'the towns in our day, you and I.' The location is never specified. The spy elements—pursuit, a sword-stick, whispered warnings—are present, but the setting remains generic. Readers expecting detailed local color or political intrigue will find only atmospheric fragments. The novel may use Eastern Europe as a vague backdrop for adventure rather than a fully realized place.
The Vultures presents a puzzle for catalogers: its excerpts suggest a novel more interested in character and national type than in plot mechanics, and its violence is stylized rather than gritty. Readers approaching it as a straightforward spy thriller may be surprised by the ironic narrator and the focus on Mangles's dyspepsia. The 'Fantasy & Juvenile' tag seems particularly mismatched. Approach the book as a period piece of transatlantic manners with a dash of adventure, and its peculiarities may cohere.
I remembered my grandfather’s stories of Eastern Europe while reading The Vultures, the way strangers’ loyalty felt like a knife-edge. That same hush came over me years ago with Won By the Sword : a tale of the Thirty Years' War — Reading Notes, where honor and survival twisted quietly in the shadows. Both books left me staring out a train window, counting the miles.
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