Ashes to ashes — A Closer Reading
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Ashes to ashes — A Closer Reading can be approached with a clearer sense of reading commitment from its source measurements: 104,315 words, 7 hr 34 min estimated reading time, and 31 detected text sections.
The text analysis averages about 16.7 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 “Detective and mystery stories,” connecting these edition facts with the source record’s subject description.
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- Title & short description10 pts
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- Chapters / structure15 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
hich just escapes actual beauty; yet it was not that which caused Norman Storm to halt and drove from him all thought of the late interview.
It was his wife. Leila! What possible errand could have brought her to the city and to this portion of it? Surely an unexpected one, for she had not told him of any such intention; indeed, to his knowledge she had never before invaded the precincts of finance, and he could conceive of no possible reason for her presence there.
As he paused, momentarily petrified with astonishment, a stout little man upon the opposite curb also caught sight of the young woman’s hurrying figure, and he, too, stopped in surprise, a smile lighting his plain, commonplace features. Then, as though drawn by a magnet, his pale, rather faded blue eyes traveled straight to where Norman Storm stood, the surprise deepened, and with a half-audible exclamation he started across the street toward him; but a long double line of drays and motor trucks barred his way.
Meanwhile Leila had vanished utterly in the crowd, and Storm realizing the futility of an attempt to overtake her, dismissed the matter from his thoughts with a shrug. She would tell him of her errand, of course, on his return home; and a conference of importance awaited his immediate presence at the office of the trust company.
The conference developed complications which delayed him until long after the closing hour, forcing him to forego an engagement with Millard for a round of golf at the country club. He likewise missed his accustomed train bearing the club car out to Greenlea and was compelled to herd in with commuters bound for the less exclusive suburban communities on the line.
Storm was not a snob, but the atmosphere of petty clerking and its attendant interests grated upon his tired, highly strung sensibilities; the unsatisfactory interview of the morning with Foulkes returned to exasperate him further and he was in no very genial frame of mind when he alighted at the station.
But Barker was on hand promptly with the smart little car which consumed such an incredible amount of gasolene, and the air of the soft spring twilight was infinitely grateful after the smoke and stuffiness of the train. As they drove swiftly past the rolling lawns of one spacious landscape garden after another, each burgeoning with its colorful promise of the blossoming year, his taut nerves relaxed, and he settled back in contented ease. What if he had been unlucky in past speculations, if old Foulkes did consider him an unstable weakling? Leila believed in him, and she was his, all his!
The glimmer of white upon the veranda half-hidden in the trees resolved itself into a slender, fairy-like figure, and as he alighted from the car and mounted the steps she caught his hands in the eager, childish way which was one of her chief charms.
“Oh, Norman, how late you are! Poor dear, did they keep him at that wretched old office and make him miss his golf?” She lifted her face for his evening kiss, and her soft, blue eyes glowed with a deep, warm light. “George is here; I mean, he ’phoned from the Millards’. He’s coming over for dinner.”
“That’s the reason for the début of the new white gown, eh?” Storm laughed. “By Jove, I believe I ought to be jealous of old George! When a man’s wife and his best friend——”
“Don’t!” There was a quick note almost of distress in Leila’s tones. “I don’t like to hear you joke that way about him, dear. He seems so lonely, standing just outside of life, somehow. He hasn’t anything of this!”
She waved her little hands in a comprehensive gesture as if to take in the whole atmosphere of the home, and her husband laughed carelessly once more.
“It’s his own fault, then. Don’t waste any sympathy on him on that score, Leila. George is a confirmed old bachelor; he would run a mile from a suggestion of domesticity.” At the door he turned. “Oh, I say dear——”
But Leila was already down the steps and had started across the lawn, at the farther side of which Storm discerned a short stout commonplace figure approaching; and turning once more he hastened to his room to change.
Isabel Ostrander's Ashes to Ashes opens with a tense financial negotiation: attorney Wendle Foulkes warns Norman Storm that his inheritance has dwindled to a final batch of securities, yielding only three thousand a year. Storm's retort—"Three thousand a year! It wouldn't cover the running expenses of the car and our country club bills alone!"—establishes his reckless entitlement. The dialogue carries the exposition, revealing Storm's squandered four hundred thousand dollars and his salary at the Mammoth Trust Company. Ostrander uses the conversation to sketch character: Foulkes is paternal and weary, Storm sulky and defensive. The scene's pacing is deliberate, each line tightening the financial noose.
The Weight of a Cane
The murder weapon is introduced with deceptive casualness. In Chapter XIV, as Storm and his guest Horton prepare to step outside, Storm's hand "closed over the head of the heavy cane, and he drew it out of the stand." The detail is slipped into the narrative without emphasis, but its weight—both literal and symbolic—becomes clear. Earlier, Horton had been persuaded to leave his black bag of money locked in a closet, and Storm had insisted he wear a golf cap instead of his soaked hat. Each small action accumulates: the locked closet, the key in Horton's pocket, the cap that makes him look "like a bally yachtsman." Ostrander builds the scene through mundane objects and gestures, letting the reader sense the trap being laid. The cane is never described as a weapon; it is simply a cane, but its presence in Storm's hand at the threshold signals a shift from talk to action.
A Night Walk and a Shift in Rhythm
Chapter XV, "Ashes to Ashes," changes pace abruptly. The elevator man is "almost slumbering," the street "deserted," and the watchman's tread echoes from afar. Storm leads Horton across a driveway to a path "deeply enshrouded by trees" along a river embankment. The prose opens out: the moonless night, the bright stars, the river dotted with ship lights. Horton's exclamation—"By jingo, it's some night!"—contrasts with Storm's "hint of nervousness in his lowered tones." The dialogue becomes sparse, the description expansive. Ostrander slows the narrative to a walking pace, letting the setting dominate. The river and Palisades are invoked as a backdrop for violence, but the text does not yet describe the act. The rhythm of the sentences lengthens, mimicking the stride of two men walking, one unaware, the other calculating. The chapter title itself—"Ashes to Ashes"—hints at the outcome, but the prose withholds the blow.
Voice and the Unreliable Surface
Ostrander's narrative voice remains close to Storm's perspective, filtering events through his resentment and self-justification. In the opening, Storm's thoughts are rendered indirectly: "Confound old Foulkes! Why didn't..." The reader is given his irritation, his sense of being misunderstood. Later, as he watches Horton stow the bag, his inner triumph is noted: "The fool was taking such pains—for him!" The voice is sardonic, superior. Yet the narrative never fully endorses Storm's view; the attorney's warnings and Horton's caution provide counterweights. The result is an unstable surface: the reader sees Storm's calculations but also the details he overlooks or dismisses. The golf cap, the wet hat, the umbrella that leaked—these are not merely props but clues to a method. Ostrander's control of voice ensures that the reader is both inside Storm's head and aware of the gaps in his perception.
Readers attentive to Ostrander's handling of objects and gestures will find the novel's tension built not in grand revelations but in small, accumulating details. The cane, the cap, the key—each carries a weight that the narrative does not immediately explain. The pacing, too, rewards close attention: the long, deliberate scenes of conversation and preparation give way to a sudden, almost lyrical night walk. This is a crime novel that trusts its readers to watch the hands, not just the words.
Storm’s night walk in Ashes to Ashes reminded me of another quiet inventory of dread, where a house’s shadows feel heavier than its walls. Shadow in the House — A Reader’s Guide holds that same hush, that sense of a place breathing differently when we’re not looking. I still feel that cane’s weight, somehow, whenever I recall either book.
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