Out of Death's Shadow; Or, A Case Without a Precedent — Inside the Classic
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This digital edition of Out of Death's Shadow; Or, A Case Without a Precedent — Inside the Classic is described by source-level measurements including 54,047 words, 3 hr 55 min estimated reading time, and 23 detected text sections.
The text analysis averages about 15.3 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 “Detective and mystery stories,” connecting these edition facts with the source record’s subject description.
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- Title & short description10 pts
- Source metadata20 pts
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Read the Text
A MAN WITHOUT A SECRET.
On the shady veranda of an old-fashioned Southern house, on the outskirts of St. Louis, two men in the prime of life were enjoying their cigars one fine morning.
One, the younger, with a fair, full face and honest, gray eyes, after a long period of silence, said:
"To-morrow will decide her fate, Nick. You have worked up a strong case against her, but I am afraid of the jury."
"The jury is all right. We have seen to that, John. Conviction is certain. It has been an easy case for me."
The woman to whose trial reference had been made had killed her husband, but the deed had not been witnessed, and it was due to Nick Carter's efforts that a complete case for the prosecution had been made out.
"Murder is a secret of such awful weight," said Nick, "that there are few men, to say nothing of women, who are able successfully to carry it."
"It will out some time or other, eh?"
"In the majority of cases, yes. Of course, there are instances where the crime of taking human life has remained an unsolved and seemingly insoluble mystery, but such instances have, in my opinion, resulted either through a chain of accidents, impossible to foresee, or through the negligence or inefficiency of the officers of the law, whose duty it was to use all possible skill and diligence in arriving at the facts. In this woman's case we have, I think, exercised all necessary skill and diligence. To-morrow the end will come, and the next day I shall be on my way to New York."
"You have been here but a week, Nick, and yet I feel as if I had known you a lifetime. When you introduced yourself as an old friend of my mother, I knew in a moment that I had myself found a friend, and one after my own heart."
The young fellow's earnestness and feeling warmed the cockles of the great detective's heart. He liked John Dashwood and he took no pains to conceal the fact. A portly, well-groomed man of sixty, with a self-satisfied smile on his keen, smoothly shaven face, who had come out of the house and approached unperceived, now broke in with the remark:
"I'll bet it's a secret you are discussing."
"What makes you think so?" asked John Dashwood quickly.
"The expression of your face. There is certainly something about the position of your lips, your eyes are slightly narrowed, your head is bowed in a suspicious manner, your----"
"Might we not have been exchanging simple confidences?" put in Nick, with a smile.
"Possibly. But confidences are secrets, you know."
The speaker leaned against the railing in front of the two friends and regarded them benignly.
"We were not discussing secrets," said Dashwood, as he threw back his head, though his manner was pleasant enough.
"No? Then you should have been, for all of us have our secrets."
Dashwood shook his head. "You must except me, Mr. Leonard," he said.
"What? A man without a secret? Come, now, Dashwood, you must be joking. I don't assume, of course, that any secret you may have hidden in your breast is of a shady nature, but to say that your mind is an open book, that during your twenty-six years of life--twenty-six or twenty-seven, which is it?"
"That during your twenty-six years of life you have never had any experience which, for honorable reasons, you have thought best to keep to yourself, or have never been the recipient of another's secret, equally honorable, but not proper for publication, is to stamp you as an exceptional man."
"I am an exceptional man, then, for really I haven't any secrets. But as for Mr. Carter, here," turning and nodding in his friend's direction, "he is nothing less than a walking mystery. He has to be, you know, for he is a detective."
Mr. Leonard looked keenly at Nick Carter.
"How is it?" he asked, in a bantering tone. "Are you as Dashwood says, or is he mistaken, and are you to be placed with him in the category of unfledged innocents? Come now, out with the truth. Are you a man with a corroding secret, or are you not?"
"There are some matters of no concern to the general public," replied Nick, rather coldly, "which I have found advisable to keep to myself. But"--with a smile--"they are honest ones, I assure you."
"Would your enemies think so if they knew them?" queried Leonard provokingly.
"My enemies give me little concern."
"Neither do mine, for I have none," said John Dashwood proudly.
The story begins not with a crime but with a conversation between Nick Carter and John Dashwood on a Southern veranda. Nick expresses certainty about a murder case he has built, stating, "Conviction is certain." This opening establishes Nick as a self-assured detective whose methods rely on psychological insight—"Murder is a secret of such awful weight," he observes. The setting and dialogue immediately signal the dime-novel style: brisk, confident, and focused on the detective's prowess.
A Confident Opening and a Shifting Focus
The first chapter introduces Nick Carter in a relaxed posture, discussing a case he considers already won. The language is direct: Nick declares the case "easy" and the jury "all right." This confidence is a hallmark of the series, but the excerpts show a shift. By Chapter XI, Nick is no longer in St. Louis but in Washington, D.C., investigating a new murder—that of James Playfair. The opening's assurance gives way to active detection, as Nick gathers reports from his assistants Chick and Patsy. The reader moves from a solved case to an unsolved one, mirroring the dime-novel structure of serial adventures.
Evidence and the Role of Minor Characters
In the middle excerpts, Nick relies on a network of informants. A negro wharf porter provides a crucial clue: a bank-note given to him by a dark-faced stranger. The porter's detailed description—"speckled brown" suit, derby hat, diamond shirt-front—shows the story's attention to concrete details. Another minor character, Prosper Craven, is described with precise physical traits: "light-blue eyes, which blinked continually." Nick sizes him up as "secretive, obstinate, and weak in judgment." These observations, though brief, give the reader a sense of the detective's method: he reads people through their appearance and behavior.
The Detective's Voice and Narrative Rhythm
Nick Carter's dialogue is terse and commanding. He tells Chick, "I must see him at once," and later presses Craven with "You have not answered my question." The narrative moves quickly, with short paragraphs and frequent shifts in location. The excerpts show a pattern: a clue is introduced, Nick issues orders, and the scene changes. This rhythm keeps the story moving, though the excerpts are incomplete. The reader can infer that the plot will involve multiple suspects and a race to connect the bank-note to the murderer. The detective's voice—confident, slightly sardonic—anchors the narrative.
Setting as a Clue to Genre
The story moves from a Southern veranda to Washington, D.C., with references to St. Louis and San Francisco. This geographic range is typical of dime novels, which often used American cities as backdrops for crime. The excerpts mention a "grocery near the wharf" and a "small brick house near the car-line," grounding the mystery in everyday locations. The detective's methods—interviewing witnesses, sending telegrams, analyzing physical evidence—reflect the era's fascination with scientific detection. The reader should note how the setting shifts from leisurely Southern conversation to the gritty details of urban investigation.
The excerpts offer a glimpse into the dime-novel formula: a confident detective, a series of clues, and a cast of minor characters who provide leads. Readers should pay attention to how Nick Carter's initial certainty contrasts with the uncertainty of the new case. The story's pace and reliance on dialogue make it a quick read, but the details—like the bank-note number and the description of Prosper Craven—reward close attention. This is a mystery built on observation, not deduction.
Reading the editorial notes on Out of Death's Shadow, I kept lingering on how Carter's quiet confidence gives way to small, forgotten witnesses. Those minor characters carry such weight. It reminds me of another mystery, though lighter in tone, where the incidental folk similarly hold the truth — The Red Mouse: A Mystery Romance — Inside the Classic. Funny how a shadowy dime novel can echo a romance across the years.
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