Strange True Stories of Louisiana — Story, Setting & Ideas
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Before opening Strange True Stories of Louisiana — Story, Setting & Ideas, the edition data offers a quick orientation: 94,575 words, 6 hr 52 min estimated reading time, and 9 detected text sections.
The text analysis averages about 17.3 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 “Louisiana -- Social life and customs -- Fiction,” connecting these edition facts with the source record’s subject description.
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- Source metadata20 pts
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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
ere was one chance left: it was to find the original papers. I employed an intelligent gentleman at so much a day to search till he should find them. In the dusty garret of one of the court buildings--the old Spanish Cabildo, that faces Jackson Square--he rummaged for ten days, finding now one desired document and now another, until he had gathered all but one. Several he drew out of a great heap of papers lying in the middle of the floor, as if it were a pile of rubbish; but this one he never found. Yet I was content. Through the perseverance of this gentleman and the intervention of a friend in the legal profession, and by the courtesy of the court, I held in my hand the whole forgotten story of the poor lost and found Salome Müller. How through the courtesy of some of the reportorial staff of the "New Orleans Picayune" I found and conversed with three of Salome's still surviving relatives and friends, I shall not stop to tell.
While I was still in search of these things, the editor of the "New Orleans Times-Democrat" handed me a thick manuscript, asking me to examine and pronounce upon its merits. It was written wholly in French, in a small, cramped, feminine hand. I replied, when I could, that it seemed to me unfit for the purposes of transient newspaper publication, yet if he declined it I should probably buy it myself. He replied that he had already examined it and decided to decline it, and it was only to know whether I, not he, could use it that I had been asked to read it.
I took it to an attorney, and requested him, under certain strict conditions, to obtain it for me with all its rights.
"It is the minute account, written by one of the travelers, a pretty little Creole maiden of seventeen, of an adventurous journey made, in 1795, from New Orleans through the wilds of Louisiana, taking six weeks to complete a tour that could now be made in less than two days."
But this is written by some one else; see, it says
[Handwriting: Voyage de ma grand'mere]
"Yes," I rejoined, "it purports to be a copy. We must have the little grandmother's original manuscript, written in 1822; that or nothing."
So a correspondence sprang up with a gentle and refined old Creole lady with whom I later had the honor to become acquainted and now count among my esteemed friends--grand-daughter of the grandmother who, after innumerable recountings by word of mouth to mother, sisters, brothers, friends, husband, children, and children's children through twenty-seven years of advancing life, sat down at last and wrote the oft-told tale for her little grand-children, one of whom, inheriting her literary instinct and herself become an aged grandmother, discovers the manuscript among some old family papers and recognizes its value. The first exchange of letters disclosed the fact that the "New Orleans Bee" ("L'Abeille") had bought the right to publish the manuscript in French; but the moment its editors had proper assurance that there was impending another arrangement more profitable to her, they chivalrously yielded all they had bought, on merely being reimbursed.
The condition that required the delivery of the original manuscript, written over sixty years before, was not so easily met. First came the assurance that its spelling was hideous, its writing bad and dimmed by time, and the sheets tattered and torn. Later followed the disclosure that an aged and infirm mother of the grandmother owned it, and that she had some time before compelled its return to the private drawer from which the relic-loving daughter had abstracted it. Still later came a letter saying that since the attorney was so relentlessly exacting, she had written to her mother praying her to part with the manuscript. Then followed another communication,--six large, closely written pages of despair,--inclosing a letter from the mother. The wad of papers, always more and more in the way and always "smelling bad," had been put into the fire. But a telegram followed on the heels of the mail, crying joy! An old letter had been found and forwarded which would prove that such a manuscript had existed. But it was not in time to intercept the attorney's letter saying that, the original manuscript being destroyed, there could be no purchase or any need of further correspondence. The old letter came. It was genuine beyond a doubt, had been written by one of the party making the journey, and was itself forty-seven years old. The paper was poor and sallow, the hand-writing large, and the orthography--!
[Handwriting: Ma bien chair niaice je ressoit ta lette ce mattin]
But let us translate:
st. john baptist[1] 10 august 1836
George Washington Cable opens Strange True Stories of Louisiana with a frank admission: “True stories are not often good art.” This sentence sets the tone for a collection that deliberately foregrounds its own artifice. Cable, a novelist known for his Creole tales, here positions himself as a gatherer of documents—manuscripts, court records, diaries—which he then edits and frames. The result is a hybrid work that oscillates between reported fact and narrative shaping. In the opening chapter, “How I Got Them,” he describes acquiring the stories from various sources, emphasizing their authenticity while also hinting at the liberties he takes in arranging them. This tension between raw testimony and crafted storytelling runs through every piece in the volume.
The Editor as Character
Cable inserts himself into the narrative more directly than a typical anthologist. In “How I Got Them,” he recounts his own detective work: tracking down descendants, examining faded manuscripts, and deciding which details to include. He writes of the manuscripts as physical objects—some written on wallpaper during the Siege of Vicksburg, others in cramped handwriting on yellowed sheets. This framing makes the reader aware of the editorial hand at every turn. Cable does not pretend to be a neutral transmitter; he admits to selecting, condensing, and occasionally interpreting. The effect is that the stories feel doubly mediated: first by the original witnesses, then by Cable himself. His voice—colloquial, curious, occasionally wry—becomes a unifying thread across disparate tales.
Dialect and Diction as Evidence
Cable pays close attention to how his subjects speak, often preserving dialect and nonstandard grammar. In the account of Salome Müller, the “white slave,” the court testimony includes phrases like “the girl Bridget brought into Miller's household in 1822 was much darker than the plaintiff.” Cable does not smooth these into polished prose; he lets the legal language stand, with its repetitions and awkward constructions. Similarly, in the story of Alix de Morainville, the dialogue carries French-inflected cadences. By refusing to homogenize the voices, Cable treats language as a form of evidence—a marker of class, region, and authenticity. This choice also slows the reader, forcing attention to the texture of each speaker's world.
The Weight of Documents
Throughout the collection, Cable reproduces or paraphrases legal papers, letters, and diary entries. The “War Diary of a Union Woman in the South” is presented as a first-person record, with Cable’s interventions limited to brief explanatory notes. In the “Haunted House in Royal Street” section, he cites property records and newspaper accounts to ground the sensational tale of Madame Lalaurie. The most striking example is the trial of Salome Müller, where Cable quotes the judge’s ruling at length: “The supposed identity is based upon two circumstances: first, a striking resemblance… second, two certain marks or moles on the inside of the thighs.” By including such raw material, Cable invites readers to weigh the evidence themselves, blurring the line between story and case file.
Silence and What It Conceals
Cable often notes what the records do not say. After quoting the judge’s decision against Salome Müller, he writes: “What stir there was in the room when these words were heard the silent records lying before me do not tell.” He then imagines the scene—lawyers gathering papers, the plaintiff’s dejection—but always marks these as conjectures. This restraint is a deliberate authorial choice: Cable refuses to fill gaps with invented emotion. Instead, he lets the absence speak. The same technique appears in the story of the “Young Aunt with White Hair,” where the narrator withholds the aunt’s inner thoughts. By foregrounding the limits of his sources, Cable makes the reader aware of the many stories that remain untold, even as he tries to recover them.
Cable’s collection rewards a reader willing to move slowly, to pause over a legal phrase or a scrap of dialogue. The stories do not resolve neatly; they accumulate, like the documents from which they are drawn. Pay attention to the moments when Cable steps back and lets a witness speak, or when he admits he cannot know what happened next. Those are the places where the strangeness of true stories—their resistance to art—becomes most visible.
Reading Cable’s clipped courtroom transcripts, I remembered my grandmother’s low voice retelling our family’s exile from New Orleans—facts folded into folklore until I couldn’t tell where memory ended. The same hush came over me with Fix bayonets! — Reading Notes, where war’s mud and terror felt suddenly intimate, not historical. Both books whisper: the past isn’t distant, just waiting for someone to confess it quietly.
Isaac Smith
1 month ago-
Adrian Marshall - 1 month ago
This collection offers an intriguing glimpse into Louisiana's past, with a mix of supernatural and historical stories. Cable's writing style is polished and informative, and the stories are well-chosen. However, the pacing can be uneven, and some tales feel more compelling than others. The title suggests a focus on 'true' stories, but some accounts border on the fanciful, which might disappoint readers expecting strict realism. Still, a worthwhile read for regional history enthusiasts. -
Zachary Graham - 1 month ago
George Washington Cable's 'Strange True Stories of Louisiana' is a treasure trove of fascinating tales, blending fact and legend with beautiful prose. Each story is meticulously researched, bringing to life the unique culture and history of the region. Cable's narrative voice is engaging, and his ability to capture the essence of Louisiana's diverse influences makes this a must-read for history buffs and lovers of Southern literature. -
Marilyn Lane - 1 week ago
Despite the promise of 'true stories,' this book feels dated and dry. Cable's prose is overly ornate and slow, and the stories lack the excitement or emotional impact that would make them memorable. The historical details are interesting but are often buried in lengthy descriptions and digressions. I struggled to maintain interest, finding many chapters tedious. A disappointing read that didn't live up to its intriguing title.
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Liam Walker
2 weeks ago