A Deal with the Devil — A Reader’s Guide

Narrative Voice and Moral Framing

The story is told in the first person by Martha, who presents herself as the sole surviving descendant and the guardian of her grandfather's soul. Her language is precise and often ironic: she notes that grandpapa 'kept as sober, as honest, and as innocent as one could wish to see any nonagenarian.' This phrasing undercuts the praise by reminding the reader of his earlier crimes. Martha's control over the narrative is evident when she describes her visit to the Crystal Palace to observe Susan Marks. She reports the conversation she overhears verbatim, allowing the reader to judge Susan's character directly. Martha's own reactions—'my blood boiled'—are stated plainly, reinforcing her role as the moral center. The excerpts do not reveal whether Martha's perspective is reliable or whether her interventions are entirely altruistic.

The Devil in the Catalog: Rejuvenation and the Supernatural

The catalog subjects include 'Devil -- Fiction' and 'Rejuvenation -- Fiction,' yet the excerpts contain no explicit supernatural elements. The title suggests a Faustian bargain, but the text so far presents only human schemes: Daniel Dolphin's plan to marry a young woman, and Martha's efforts to thwart him. The word 'devil' appears only in the title and chapter headings; within the narrative, grandpapa's 'rejuvenation' is merely his romantic interest at age one hundred. The catalog may imply a literal diabolical pact, but the excerpts show a comic, domestic story of deception and family intrigue. Readers should note that the supernatural may emerge later, or the 'deal' may be purely metaphorical.

Social Milieu and Class Details

The setting is late nineteenth-century England, with specific locations: the Crystal Palace, Lady Godiva's statue, and a chocolate stall. Susan Marks works as a seller of 'sweetstuff,' and her speech is marked by slang ('mash,' 'bangle,' 'fal-lals') and a hard, mercenary tone. Martha, by contrast, uses more formal language and refers to 'the Squire's daughter' and 'Upper Norwood.' The contrast in diction highlights class differences. Grandpapa's past as a forger and his current pursuit of a 'model girl' from the lower classes suggest a social fluidity that the catalog subject 'England -- Social life and customs -- 19th century' captures, but the excerpts focus on individual transactions rather than broad customs.

Readers should attend to how the title's promise of a diabolical deal is fulfilled—or subverted—as the narrative progresses. The excerpts end before any explicit pact appears, leaving open whether the devil is literal or a figure for human folly. Martha's voice dominates, but her reliability may be tested by later events. The novel's short length (under 40,000 words) suggests a brisk, focused plot.

That rainy afternoon, A Deal with the Devil left me thinking about how family stories get tangled with what we choose not to see. Martha’s careful unravelling of her grandfather’s romance felt less like comedy and more like a quiet warning. Afterwards, I found myself reaching for Ann and Her Mother — A Closer Reading, wondering how another daughter’s loyalty might bend under the weight of similar secrets.